This is an interdisciplinary study that aims to reassess Dante's use of Franciscan sources in the Divine Comedy. Particularly, I focus on two important, yet marginalized, theologians: the Provençal friar Pietro di Giovanni Olivi, and his disciple, Ubertino da Casale. Both are coeval of Dante Alighieri, and served as lectores in Florence. In particular, I examine the eschatological aspects of their works, in an attempt to understand how they contribute to Dante's own eschatological vision. Ubertino and Olivi were extremely interested in understanding history through the dense symbolism of the Apocalypse. Therefore, I inspected their works, particularly Olivi's Lectura Super Apocalipsim (a commentary on the Apocalypse written in 1298, of which there exist no modern editions), and Ubertino's Arbor Vitae Crucifixae Jesu, "The Tree of the Crucified Life of Jesus," a massive work on the life of Christ, composed in 1305, in which the author incorporates and develops large parts of Olivi's commentary. I attempt to disentangle the crossed references that link these two books with Dante's Divine Comedy. I aim to revise our knowledge of Dante's appropriation of these sources, for I believe that scholars have unjustly dismissed Ubertino as an unoriginal mediator, on the ground of his ideological dependence on Olivi. Therefore I propose an amendment in Ubertino's favor. Upon a redefinition of Dante's ideological genealogy, I hope to improve our comprehension of how Dante incorporates the eschatology debate of his time in the sacred poem.

The main scope of this study consists in analyzing how the poetic and ideologic universe of Dante is implanted and transformed in the Russian culture of the late XIXth---early XXth century. Particular emphasis is made on the role of Dante's heritage in the philosophy and poetry of the first Russian philosopher and symbolist poet---Vladimir Soloviov, as well as on the further impact of dantesche images on some major representatives of the Russian Symbolist movement. / This analysis will be done through a demonstration of major point of interference between Soloviov and Dante: these can be examples of direct influence (as is the case with Theocracy) of appearance of the same archetypes (as is the case with Sofiology and theory of love). / Despite the clear and definite presence of dantesque motifs in Soloviov's heritage, no systematic analysis of the parallels between the two has been made up to date.

Ce travail interprète les deux premières parties de la Divine Comédie de Dante Alighieri (1261-1321) à partir des valeurs symboliques associées par son auteur à la lumière. L’objectif est de démontrer que, grâce à la représentation de multiples phénomènes lumineux dans l’Enfer et dans le Purgatoire, le redressement moral conçu pour le lecteur est comparable à une véritable conversion, un cheminement de l’esprit qui fuit l’erreur (ténèbres) pour se rapprocher par étapes successives du salut (lumière).Dans la première partie, la nécessité pour l’auteur de placer ces deux espaces eschatologiques chrétiens sur terre est mise en relation avec les vicissitudes rencontrées par Dante qui le conduisent à s’interroger sur le destin d’une humanité en perdition. L’égarement de l’âme ayant perdu le bien de l’intellect, de même que son rachat, sont évoqués dans le monde des vivants par la présence du royaume de la damnation éternelle, l’abîme infernal, et d’un espace de pénitence temporaire, une montagne élevée. En traversant ces deux lieux de l’au-delà, le protagoniste échappe à la forêt obscure et s’apprête à atteindre le colle illuminé ; il suggère ainsi au lecteur un modèle de conduite morale à travers l’interprétation symbolique des phénomènes lumineux.Dans la deuxième et dans la troisième partie, l’exemplarité attribuée à la représentation de la lumière se précise à travers l’expérience exceptionnelle du pèlerin, viator dans le monde des morts : dans l’Enfer, la « poétique du feu » met en scène l’évolution d’une conscience en train de constater les conséquences désastreuses d’un usage malsain de l’intellect (ingegno) ; dans le Purgatoire, la « poésie du ciel » relate la libération progressive d’un esprit à qui sont annoncés les signes de son élection au privilège de la grâce. / This work is an interpretation of the first two parts of The Divine Comedy by Dante Alighieri (1261-1321) from the symbolic meanings associated to light by the author. The objective is to demonstrate that through the representation of multiple light phenomena in Hell and in Purgatory , moral recovery designed for the reader is similar to a true conversion, a journey of the mind fleeing its error (darkness) in order to approach salvation (light) by stages.In the first part, the necessity to place part of the Christian eschatological space on earth is related to Dante’s vicissitudes that make him question the destiny of a humanity in distress. The error of the soul which has lost the good of the intellect, as well as its redemption, are evoked in the world of the living by the presence of the realm of eternal damnation (the infernal abyss) and a space for temporary penance (a high mountain). By crossing those two places of the afterlife, the protagonist escapes the dark forest and prepares to reach the illuminated colle. Thus he suggests a model of moral behavior through a symbolic interpretation of the luminous phenomena.In the second and third parts, the exemplarity attributed to the representation of light is made clear through the exceptional experience of the pilgrim, viator in the world of the dead : in Hell, the "poetics of fire " stages the evolution of consciousness : an awareness of the disastrous consequences of an unhealthy use of the intellect (ingegno) ; in Purgatory , the "poetry of heaven " traces the gradual release of a mind to which the signs of its election to the privilege of grace are revealed.

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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

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Dante Alighieri is, undoubtedly, an enduring feature of the cultural memory of generations of Italians. His influence is such that the mere mention of a ‘dark wood’ or ‘life’s journey’ recalls the poet and his most celebrated work, the Divina Commedia. This study, however, seeks to examine the construction of the medieval Florentine poet, exemplified by the above assertion, as a potent symbol of the Italian nation. From the creation of the idea of the Italian nation during the Risorgimento, to the Liberal ruling elite’s efforts after 1861 to legitimise the new Italian nation state, and more importantly to ‘make Italians’, to the rise of a more imperialist conception of nationalism in the early twentieth century and its most extreme expression under the Fascist regime, Dante was made to play a significant role in defining, justifying and glorifying the Italian nation. Such an exploration of the utilisation of Dante in the construction of Italian national identity during the nineteenth and early twentieth centuries aids considerably in an understanding of the conceptualisation of the Italian nation, of the issues engendered by the establishment of the Italian nation state, and the evolution of these processes throughout the period in question. The various images of Dante revealed by this investigation of his instrumentalisation in the Italian process of nation-building bear only a fleeting resemblance to what is known of the poet in his medieval reality. Dante was born in 1265 to a family of modest means and standing in Florence, at that time the economic centre of Europe, and one of the most important cities of the Italian peninsula. His writings disclosed, however, that he was little impressed by his city’s prestige and wealth, being instead greatly disturbed by its political discord and instability, of which he became an unfortunate victim. The violent partisan conflict in Florence and the turbulent political condition of the Italian peninsula in the late thirteenth century had a decisive influence on Dante’s life and literary endeavours.

Th. Etat : Lettres : Lyon 3 : 1987.