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1
Gaudenzi, Cosetta. "Appropriations of Dante : XVIII and early XIX century translations of the Divine comedy in Great Britain /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Barandiarán, José León. "Dante Alighieri: su vida y su obra." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/116663.
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Marietti, Marina. "Dante, la cité infernale /." Paris : Université de la Sorbonne nouvelle-Paris III, 2003. http://catalogue.bnf.fr/ark:/12148/cb39034560f.
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Texte remanié d'un chapitre de: Th. État--Lettres--Paris 3, 1987. Titre de soutenance : La cité dans l'oeuvre des auteurs toscans de Dante à Machiavel.Texte de cours radiophoniques diffusés par Radio Sorbonne, 1994-1996. N° spécial de : "Chroniques italiennes", 2003. Bibliogr. p. 225-226. L'ouvrage porte par erreur : ISSN 1243-5066.
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Pitwood, Michael. "Dante and the French romantics /." Genève : Droz, 1985. http://catalogue.bnf.fr/ark:/12148/cb34909199t.
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Schulze, Thies. "Dante Alighieri als nationales Symbol Italiens (1793-1915) /." Tübingen : M. Niemeyer, 2005. http://catalogue.bnf.fr/ark:/12148/cb41017604j.
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Colombo, Angelo. "La philologie dantesque à Milan et la naissance du Convito culture et civilisation d'une ville italienne entre l'expérience napoléonienne et l'âge de la restauration /." Villeneuve d'Ascq : Septentrion, 2001. http://books.google.com/books?id=iUFdAAAAMAAJ.
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Gessi, Elena. "Temporality in the Divina Commedia of Dante Alighieri." Thesis, University of East Anglia, 2017. https://ueaeprints.uea.ac.uk/69367/.
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My doctoral research analyses different aspects of temporality in the Divina Commedia of Dante Alighieri and it traces interactions between the levels of temporality, perpetuity and eternity. These relationships ought to have generated far more critical discussion than they have done thus far, concerning what Dante actually means by time, perpetuity and eternity. Overall, the scholarship on the general representation of time in the Divina Commedia is remarkably fragmentary and has yet to be synthesized into a comprehensive account. Thus, my research connects the three cantiche, Dante’s sources, the variety of different uses and representations of the figures of time within the poem, the poem’s astronomical figurations, and its scriptural and historical temporal perspectives. My project focuses on the main models and the taxonomies Dante engages with – these are the Augustinian, the Boethian and the Platonic. The research shows that the reiterations and transformations of these models are represented through figures, motions, rhythms and linguistic devices. Mostly, Dante presents us with hybrid figures, which have a sort of ‘patchwork’ nature. They might display biblical and classical features at the same time, revealing in this mixture the original voice of the author as poet and as compilator. My research indicates how Dante combines selected elements from different traditions in his attempt to provide the most comprehensive illustration of his conceptions, which themselves are hybrid and syncretic.
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Wilson, Robert Paul. "Prophetic elements in the Divina commedia of Dante Alighieri." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/4252/.
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This thesis presents a list and analysis of the prophecies in the Commedia of Dante Alighieri. The prophecies are then broadly considered under two headings, ante eventum and post eventum, although these elements are frequently mixed together. They are used by Dante for various purposes, including the reinterpretation of the meaning of his own exile, and different programmes of moral and political critique. The foresight shown by the inhabitants of the three parts of the after-life is also examined, and philosophical and literary explanations found. The prophetic ability of the souls in the Inferno especially is found to have an antecedent in classical literature, and in particular in Lucan’s Pharsalia. The role of the post eventum and ante eventum prophecies in the truth claims of the Commedia is considered, and the meaning of Dante Poeta’s silence on them is examined.
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Vivai, Cosimo Bartolini Salimbeni. "Uma leitura do De vulgari eloquentia de Dante Alighieri." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-17112009-153952/.
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Idealizado e composto nos primeiros anos do exílio, escrito em latim, o De vulgari eloquentia é concebido por Dante como um tratado de retórica e de poética que fixe as normas para o uso da língua vulgar, consagrando dessa forma sua legitimidade e seu valor como instrumento de expressão literária; nascido da necessidade de uma redefinição e uma reavaliação do próprio papel e significado de intelectual no âmbito da cultura italiana e européia, representa uma teorização retórico-literária baseada na sua própria experiência poética. A obra trata da origem da linguagem, da diferenciação dos vários idiomas conseqüente à confusão bíblica de Babel até a análise das línguas européias e dos vários dialetos italianos; uma vez identificada uma linguagem que atenda às exigências de uma língua literária verdadeiramente italiana, que supere os restritos limites municipais e regionais, isto é, um vulgar ilustre, cardinal, áulico e curial, Dante pretende estabelecer as regras dos gêneros e dos estilos com as quais esse vulgar possa ser explicitado, partindo da expressão mais alta, a canção: esse vasto projeto, porém, é interrompido repentinamente no décimo quarto capítulo do segundo livro. A leitura desse pequeno tratado torna possível, por um lado, uma melhor compreensão de muitos aspectos da pessoalidade e da obra dantesca, por outro, nos revela um precioso e original documento, extremamente interessante e importante para a história da lingüística românica e em particular da língua italiana.Conceived and composed during the first years of his exile, written in Latin, De vulgari eloquentia was intended by Dante as a treatise on poetry and rhetoric that would set the rules for the use of the vulgar (i.e. commonly spoken by the people) language, establishing once and for all its value as a legitimate instrument of literary expression. The project was born out of the authors need to better define his own role and significance as an intellectual against the background of Italian and European culture, and its structure, although theoretical, is based on his own experience as a poet. The work deals with the origin of language, relating how many different idioms originated from Babels biblical confusion, then goes on to analyse the European languages and the various Italian dialects. Having identified what he considers to be an idiom which meets the requirements of a genuinely Italian literary language, free from any local or regional influence, a vulgar tongue, yet at the same time illustrious, cardinal, courtly and curial, Dante endeavours to define the rules that should apply to the various genres and styles, starting with the highest, the canzone (lyric poem); but this vast project comes to an abrupt end with the fourteenth chapter of the second book. This short treatise not only gives us a deeper understanding of Dantes work and personality, but is also a valuable and original document in its own right, of the utmost importance for the development and history of Romance linguistics and particularly of the Italian language.
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Ozanam, Frédéric Condamin James. "Essai sur la philosophie de Dante thèse pour le doctorat présentée à la Faculté des lettres de Paris /." [S.l. : s.n], 1997. http://catalogue.bnf.fr/ark:/12148/cb37297221r.
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Th. doct.--Lettres--Paris, 1838?Document numérisé en mode texte. Extrait de l'ouvrage intitulé : "Deux oeuvres de jeunesse de Frédéric Ozanam : rééditées à l'occasion des fêtes du premier centenaire de sa naissance (1813, 23 avril 1913)" Texte daté de 1838, d'après Frantext. P. 5-283 du document original.
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Hölter, Eva. ""Der Dichter der Hölle und des Exils" : historische und systematische Profile der deutschsprachigen Dante-Rezeption /." Würzburg : Königshausen & Neumann, 2002. http://catalogue.bnf.fr/ark:/12148/cb411410256.
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Ferrier, Esther. "Deutsche Übertragungen der Divina Commedia Dante Alighieris, 1960-1983 Ida und Walther von Wartburg, Benno Geiger, Christa Renate Köhler, Hans Werner Sokop : Vergleichende Analyse, Inferno XXXII, Purgatorio VIII, Paradiso XXXIII /." Berlin ; New York : W. de Gruyter, 1994. http://books.google.com/books?id=5i5ZAAAAMAAJ.
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Silva, Celestina Maria Gomes e., and José Francisco Meirinhos. "Reflexões sobre o Amor na Vita Nuova de Dante Alighieri." Master's thesis, Porto : [Edição do Autor], 2009. http://hdl.handle.net/10216/20312.
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Vita Nuova, aprimeira obra de Dante Alighieri, surge inserida no conjunto de obras designadas por «obras menores». A expressão pode assumir dois sentidos: por um lado pode designar as obras menos extensas produzidas por um autor, por outro lado pode designar aquelas que, no contexto da produção desse autor, são consideradas menos relevantes. No que à Vita Nuova diz respeito, e colocando-nos na perspectiva de um tratamento filosófico, os dois sentidos têm sentido uma vez que a Vita Nuova não só é uma obra pouco extensa como tem sido relegada, da maior parte dos estudos filosóficos feitos sobre Dante Alighieri, que apenas lhe concedem uma alusão na ligação com o Convívio. O trabalho que se apresenta coloca-se no domínio da Filosofia do Amor e pretende estabelecer uma ligação entre o dizer do amor que Dante faz na obra Vita Nuova e o dizer do Amor que encontramos na reflexão dos teólogos medievais, particularmente alguns teólogos medievais, particularmente alguns teólogos do século XII e XIII. Esta ligação que se traduz numa aproximação será, por sua vez, o indicío de um distanciamento em relação ao amor cortês - cujos códigos têm sido evidenciados como linhas de leitura da obra - e em relação à própria postura do Doce Still Novo do qual Dante é apresentado como um dos mais célebres representantes. No trabalho procura-se interpretar esta aproximação como tentativa de reabilitar o amor humano maltratado na sequÊncia da Condenação de Paris de 1277.
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Arossi, Gustavo. "O conceito de Optimus Homo no Monarchia de Dante Alighieri." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/3423.
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Previous issue date: 2012This research aims to present the political thinking of Dante Alighieri. It is quite common of us to think that the Florentine poet has only addressed the subjects related to poetry. However, it is necessary to point out that, even prior to becoming a poet, Dante Alighieri is a political philosopher of the Middle Ages. Living within an environment of troubled relations of power, especially between the Church and the Empire, Dante attempts to rationally present theses to solve the problem about who should govern in order to avoid the clash between powers in the Western Christianity. Through this perspective, the sommo poeta formulates a model of government focused on the distinction between powers: spiritual power and temporal power. Furthermore, it focuses on the individuals and in their political engagement the complete fulfillment of mankind, thus devising the concept of optimus homo. Undoubtedly a better man will be the one who participates in the political community, the one who gets involved in the so-called ethical and political issues and who respects the State and the Law.
Esta pesquisa tem por objetivo apresentar o pensamento político de Dante Alighieri. É muito comum pensarmos que o poeta florentino apenas tratou de questões relativas à poesia. Entretanto, é necessário esclarecermos que, antes mesmo de ser poeta, Dante Alighieri é um filósofo da política na Idade Média. Vivendo num ambiente de conturbadas relações de poder, sobretudo entre Igreja e Império, Dante procura de forma racional apresentar teses para solucionar o problema acerca de quem deveria governar a fim de evitar o embate entre poderes na Cristandade Ocidental. Nesta perspectiva o sommo poeta elabora um modelo de governo centrado na distinção entre poderes: poder espiritual e poder temporal. Ainda, centra no homem em sua participação política a plena realização do gênero humano, conferindo assim o conceito de optimus homo. Sem dúvida alguma será melhor o homem que participar da comunidade política, aquele que se envolver com as chamadas questões ético/políticas e que respeitar o Estado e o Direito.
15
Vibrac, Dominique. "L'autonomie d'une noble Dame : étude du "Convivio" de Dante Alighieri." Paris 4, 2008. http://www.theses.fr/2008PA040222.
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Gómez, Soler Patricia. "El uso ideológico de Dante Alighieri en Cataluña (1889-1921)." Doctoral thesis, Universidad de Alicante, 2013. http://hdl.handle.net/10045/35677.
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Silva, Celestina Maria Gomes e., and José Francisco Meirinhos. "Reflexões sobre o Amor na Vita Nuova de Dante Alighieri." Dissertação, Porto : [Edição do Autor], 2009. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000196221.
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Vita Nuova, aprimeira obra de Dante Alighieri, surge inserida no conjunto de obras designadas por «obras menores». A expressão pode assumir dois sentidos: por um lado pode designar as obras menos extensas produzidas por um autor, por outro lado pode designar aquelas que, no contexto da produção desse autor, são consideradas menos relevantes. No que à Vita Nuova diz respeito, e colocando-nos na perspectiva de um tratamento filosófico, os dois sentidos têm sentido uma vez que a Vita Nuova não só é uma obra pouco extensa como tem sido relegada, da maior parte dos estudos filosóficos feitos sobre Dante Alighieri, que apenas lhe concedem uma alusão na ligação com o Convívio. O trabalho que se apresenta coloca-se no domínio da Filosofia do Amor e pretende estabelecer uma ligação entre o dizer do amor que Dante faz na obra Vita Nuova e o dizer do Amor que encontramos na reflexão dos teólogos medievais, particularmente alguns teólogos medievais, particularmente alguns teólogos do século XII e XIII. Esta ligação que se traduz numa aproximação será, por sua vez, o indicío de um distanciamento em relação ao amor cortês - cujos códigos têm sido evidenciados como linhas de leitura da obra - e em relação à própria postura do Doce Still Novo do qual Dante é apresentado como um dos mais célebres representantes. No trabalho procura-se interpretar esta aproximação como tentativa de reabilitar o amor humano maltratado na sequÊncia da Condenação de Paris de 1277.
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Facchin, Sofia <1987>. "Dante Alighieri nella biblioteca reale e immaginaria di Ippolito Nievo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3182.
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Münchberg, Katharina. "Dante : die Möglichkeit der Kunst /." Heidelberg : Winter, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014712966&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Nunez-Faraco, Humberto Rafael. "Borges and Dante : a critical issue revisited." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368853.
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Schmidt, Dagmar. "Der Freskenzyklus von Ambrogio Lorenzetti über die gute und schlechte Regierung : eine danteske Vision im Palazzo Pubblico von Siena /." [S.l.] : [s.n.], 2003. http://www.unisg.ch/www/edis.nsf/wwwDisplayIdentifier/2656.
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Bábek, Melcerová Ľubica. "Dante Alighieri: Božská komedie.Dramatická postava a její vztah k inscenačnímu prostoru." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78171.
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Main theme of my graduation thesis is medieval poetic piece called Divine Comedy. My thesis try to find way how we can interpret and stage this text nowadays. I try to use the best all my knowledges gained during my university education.
First part of my graduation thesis is theoretical. Mostly I find informations in non-fiction literature. We can separete it into two subheads.
I define the basic scenography notions at first one. I concentre on those, which ones related with my thesis and used them in this text.
I write about poetic piece of D. Alighieri Divine Comedy in the second subheads. I give some informations about history of origin and its historical context. Next I attend to translations this piece to czech language and its staging at Czech republic.
Second part of thesis is academical and treat of my author´s concept. I am declaratory of reasons my scenic concept. Concept is forwarded to present day and displays the basic thame of the text Divine Comedy for me. Challenge to person to reflection own acts, hopes for saving for rightfuls and punishment of those who do not recpect the moral period context. It is a interactive performance. The audience passes through situations. In some of them the audience can cooperate with performers if they want. The audience meet various types of devils, angels, allegoric figures, prisoners, transgressors in Hell, in Purgatoty and in Heaven.
The story is situeted in the no-theatre space. I use idustrial space-the factory.
I would like to use authentic incidence of factory to people- depersonalization, inhuman scale...The another reasons are the technical possibilities for resolution of concrete situations.
Everybody of audience is Dante and writes own Divine Comedy.
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Dancoisne, Martine. "Nerval et Dante." Rouen, 1987. http://www.theses.fr/1987ROUELA34.
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Etude comparative entre les œuvres de Nerval et la Divine Comédie de Dante. Approche thématique : les mythes antiques, la symbolique chrétienne, l'ésotérisme. Etude des structures : un espace symbolique, les distorsions temporelles, les voix narratives. La conception des personnages féminins : de Béatrice l'unique à Isis démultipliée. La fonction dévolue à l'écriture : le pouvoir demiurgique et ses limitesComparative study of the works of Nerval and Dante's Divine Comedy thematic approach : ancient myths, christian symbolics, esoterism. Structural approach : symbolic space, temporal distorsions, narrative voices. The conception of the female characters : from the uniquity of Beatrice to the multeity of Isis. Writing's inherited function : demiurgic power and its limits
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Heil, Andreas. "Alma Aeneis : Studien zur Vergil- und Statiusrezeption Dante Alighieris /." Frankfurt am Main : Peter Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb39075343c.
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Matthews, Joshua Steven. "The American Alighieri: receptions of Dante in the United States, 1818-1867." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2939.
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At the beginning of the nineteenth century, the medieval Florentine poet Dante Alighieri was an almost completely unknown figure in the United States. Yet, by mid-century, he was considered by many Americans to be one of the world's greatest poets and his major epic, the Divine Comedy, was translated during the Civil War by the most popular American poet at the time, Henry Wadsworth Longfellow. This dissertation examines Dante's nineteenth-century emergence in the United States and the historical and cultural reasons why Dante, for many nineteenth-century Americans, became a highly-regarded literary figure and an unexpectedly popular poet during the Civil War. Using new historicist and book studies methodologies, it argues that Dante was widely viewed as an important theological-political poet, a cultural representative of Italy and nineteenth-century Italian nationalism and liberalism, one who spoke powerfully to antebellum and wartime issues of national disunity, states' rights, the nature of empire, and the justice and injustice of civil war. American periodicals and English-language translations of the Comedy touted Dante as a great national poet--a model who might inspire any would-be national poet of the United States--while interpreting his biography and the Comedy in terms of American and transatlantic political events, ideologies, and discourses. Aware of such promotion, many American writers, including Longfellow, James Russell Lowell, Herman Melville, and Walt Whitman, read and interpreted the Comedy in terms of national politics and, by the early 1860s, the Civil War. Given its relevance and popularity during the 1860s--numerous books by or about Dante were published in the United States during this decade--the Divine Comedy thus became an important epic poem of the Civil War, a poem that Longfellow and Walt Whitman turned to while constructing their wartime and Reconstruction-era poetry.
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Macedo, Tadeu da Silva. "A mulher na visão poética de Dante." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-05032013-121735/.
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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.
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Ricciuti, Anna Maria. "La Création chez Dante." Paris 4, 1992. http://www.theses.fr/1992PA040036.
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La création est la notion fondamentale de la philosophie de Dante mais la création et la Trinité ne sont connues que par révélation. Dieu produit tout l'être du monde. Dans la créature,l'existence est un accident de l'essence ; sans nécéssité aucune,comme Il lui a plu,Dieu a créé toutes les créatures. Pour la théorie de la génération,Dante se réclame d'Aristote. Mais la théologie nous apprend que l'âme intellective - forme substantielle chez l'homme - ne peut exister que par création. Après la mort,l'homme garde son individualité même si le corps et l'âme sont séparés. L'homme,par sa liberté,peut choisir la damnation ou la béatitude. C'est pourquoi,l'art de Dante crée la beauté et enseigne la véritéThe creation is the fundamental notion of Dante's philosophy but creation and Trinity are knowable only through revelation. .
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Brito, Emanuel França de. "O nobre poeta por si mesmo: Dante e o Convívio." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-11112015-125137/.
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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.
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Kierat, Małgorzata. "Społeczne światy i ich legitymizacje : symbolika w dziełach Dantego Alighieri." Doctoral thesis, Katowice : Uniwersytet Śląski, 2019. http://hdl.handle.net/20.500.12128/14631.
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The dissertation's main goal was to find an answer, through the text analysis of the
Dante Alighieri literary works, to the following question: What symbolic language was used
in Dante Alighieri's literary works?
This dissertation was placed in the subfield of sociology of knowledge that was
developed by Alfred Schütz, who partly applied the Husserlian theory of phenomenology to
his own scientific goals. Nowadys, the sociologists P. L.Berger and Thomas Luckmann are
considered to be widely recognized as the repesentants of the sociology of knowledge.
To achieve this goal, there were additional questions to be addressed. They are as
follows:
1. What are the dominat social worlds presented in the literary works of Dante Alighieri?
2. How is the process of legitimation being conducted in the social worlds created by
Alighieri's characters?
3. What are the origins of the symbolic universes?
The dissertation consists of eight chapters. The first chapter refers to what can best be
described as achievements of sociological phenomenology in outlining the reality of the
multitude of social worlds which is a common experience of the most individuals.
In this chapter the phenomenon of intersubjectivity (based upon the work of Alfred
Schütz's theory) is being explanined as the way through subjective intentions and subjective
meanings are transmitted. It analyzes the process of an individual becoming part of the
meaningful reality that might be shared with other individuals. It also explains how the individuals communicate with their fellow-men within the reality of the everyday life
(Lebenswelt). It clarifies how the fenomenon of subjectivity is being transformed into the
space of intersubjectivity. This chapter emphasizes also the role of typification of social
interaction and refers to the social knowledge as the diversified system.
The second chapter of the dissertation reflects upon the problem of legitimation. It
provides the frameworks for the different types of legitimation as the elements of the
sociological theory. It underlines the impact of the religious legitimation as the main factor of
the legitimation process in the construcion of the social world. It also describes the
legitimation crisis that is taking place in the modern societies.
The third chapter approaches the problem of symbolism and the diversity of
interpretation methods. It also refers to the the human production of signs, which do not
represent only the verbal and vocal expressions. They manifest themselves in the form of
symbols that can be interpreted in different ways. This part of the dissertation explains also
the role of symbols in the medieval times of Dante Alighieri.
Then, the fourth chapter desciribes the theoretical perspective used in the dissertation
to accomplish the purpose of the presented topic. This chapter contains the reasearch question
(the main question and the additional ones). It refers to the the phenomenological sociology,
especially in terms of its application to a literary work.
Then, in the fifh chapter I try to portray the life an work of Dante Alighieri as well as
the times and circumstances of his lifetime he referred to. All the historical, political and
social aspects of the biographical background of the author of the Divine Comedy were taken
into account.
The sixth chapter deals with the problem of the dominant social worlds in Dante's
work and the question of how and where – if at all possible – the boundaries between them
might be set. It also refers to some of the social worlds that were categorized, namely: the
world of the everyday life, the world of science, the world of dreams and visions (as
components of the life-world).
The seventh chapter presents the legitimation process as an act that occurs on several
levels of the social reality. It provides the reader – through the text analysis – with the
empirical examples of the legitimation practices in Dante Alighieri's works. The criteria for
the division provided in this chapter was based upon the categories introduced by Peter L. Berger and Thomas Luckmann in their book The Social Construction of Reality. A Treatise in
the Sociology of Knowledge.
In the last, eighth chapter the Dante's symbols were analysed on the basis of the
Schütz's theory of analogical apperception. It means the symbols are analysed as objects
present in the life-world which can transcendent into another dimension.
The conclusion is that the symbols in Dante's literary works can be analysed within the
framework of Schütz's theory and that they are located in different social worlds and subworlds
of the literary works. The aim of the dissertation was to find the the social context of
their expression and existence.
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Franklin, Laura S. "A message hidden but always seen : the influence of the spiritual Franciscans on the works of Dante Alighieri." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/249.pdf.
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Black, Rosa E. "Pedro Páramo : un infierno dantesco en México /." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1580.html.
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Thesis (M.A.)--Central Connecticut State University, 1999.Thesis advisor: Lilián Uribe. " ... in partial fulfillment of the requirements for the degree of Master of Art in [Modern Languages]." Includes bibliographical references (leaves [82-87]).
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Pite, Ralph. "The circle of our vision : Dante's presence in English romantic poetry /." Oxford : Clarendon press, 1994. http://catalogue.bnf.fr/ark:/12148/cb35725039x.
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Scialom, Marc. "Les Anti-traducteurs aspects de "La Divine Comédie" en français pendant la guerre, suivis d'un répertoire chronologique et raisonné des traductions françaises du poème, XVe-XXe siècles." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375951685.
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Malanda, Ange-Séverin. "Etat, empire et droit dans l'oeuvre de dante." Toulouse 2, 1993. http://www.theses.fr/1993TOU20019.
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Analysant les structures medievales du savoir, dissociant la theorie politique de dante de celle des autorites ecclesiastiques, ce travail resulte d'une approche philosophique et historique. Il interroge une pluralite de discours, de narrations, d'institutions et d'evenements antiques, medievaux et modernes, et caracterise certains enjeux de la renaissance du droit romain a l'epoque de dante. Assurant la promotion du droit humain et de l'ideal imperial sans surmonter tous les themes de la theologie, dante s'est neanmoins achemine vers la comprehension de l'histoire humaine. La these comprend quatre parties. La premiere partie etudie les structures intellectuelles medievales et explore le domaine theologique organise par l'augustinisme et par ceux qui assimilerent les oeuvres d'aristote. La deuxieme partie evalue ce que dit dante au sujet de la loi tout en contestant l'ideal theocratique. La troisieme partie evoque les rapports entre les doctrines medievales de l'etat et l'idee ou l'image de l'eglise. La quatrieme considere la conscience historique dantesque et la question du paradisAnalysing the medieval structures of knowledge and dissociating dante's political theory from those of ecclesiastical authorities, this work results in a philosophical and historical approach. It questions a plurality of discourses, of narrations, of institutions, and events of antiquity, middle ages and the modern era, and caracterises certain "enjeux" of the renaissance of roman law at the time of dante. Assuring the promotion of human rights and the imperial ideal without surpassing all the themes of theology, dante at least was moving towards an understanding of human history. The thesis is composed of four parts. The first studies the medieval intellectual structures and explores the theological domains organized by augustinism and by those who assimilated the works of aristotle. The second part evaluates dante's sayings on the subjects of law contradicting the theocratic ideal. The third part evokes the relations between medieval doctrine of the state and the idea and the image of the church. The fourth part considers dante's historical conscience and the question of paradise
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Durante, Erica. "Poétique et écriture : Dante au miroir de Valéry et de Borges /." Paris : H. Champion, 2008. http://catalogue.bnf.fr/ark:/12148/cb41289829q.
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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.
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Ferrini, Jean-Pierre. "Dante et Beckett." Paris 7, 2002. http://www.theses.fr/2002PA070074.
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Dante est un des écrivains que Samuel Beckett a le plus cité. De ses premières fictions ou poèmes de jeunesse, à la tonalité plutôt satirique, jusqu'aux textes de la maturité, comme "Comment c'est", "Le dépleupleur" ou "Compagnie", des mots, des personnages, des paysages de "La Divine Comédie" apparaissent avec une régularité exemplaire. À partir d'un relevé systématique de ces "relations textuelles", ce travail dégage la manière dont se sont sédimentés, dans les livres de Samuel Beckett, les emprunts de Beckett à Dante. L'oeuvre de Samuel Beckett, par rapport aux trois livres qui composent la "Commedia" (Enfer, Purgatoire, Paradis), est prise entre le Purgatoire et l'Enfer. Elle est un "antipurgatoire" qui n'ouvre pas mais referme la porte du Paradis. Il n'y a pas de thèmes particuliers qui rapprochent Dante et Beckett, sinon ce mouvement "du purgatoire à l'enfer" qui déconstruit la "divinité" du poème de Dante. Seule la conjonction "et" traduit la disjonction qui coordonne Dante et Beckett comme deux extrémités, un zénith et un nadir, qui ne coi͏̈ncident pas. La lecture de Beckett n'est pas admirative, elle est brutale, parodique, drôle aussi, et retire presque toujours à Dante son contexte. L'ironie ou l'humour est souvent le "rasoir" que Beckett utilise pour séparer la "Commedia" des illusions qu'elle génère. La statue de Dante, qui domine notre culture occidentale, tomberait en morceaux, les ruines dispersées dans l'oeuvre de Samuel Beckett qui constituerait la conséquence historique de six siècles de lecture, Beckett incarnant peut-être le premier l'écart, "il lungo silenzio", qui nous sépare maintenant de DanteDante is one of the most mentioned author in Samuel Beckett' s work. From his first youth fictions or poems, written in a satirical tone, to his period of maturity with works such as "How it is", "The Lost Ones" or "Compagny", words, characters, landscapes "of The Divine Comedy" appear extremely regularly. Such systematic textual relationships bring out the closeness between Dante and Beckett. Samuel Beckett's work is caught between Dante' Purgatory and Hell. His work is an "antipurgatory" which doesn't open, but closes the doors of paradise. No evident themes link Dante and Beckett except the flow from purgatory to hell, which undoes the "divinity" of Dante's poem. The conjundion "and" is the only one to translate the "disjonction" witch coordinates Dante and Beckett as two extremities, the zenith and the nadir, which never coincide. Beckett's reading is not admiring, but brutal, parodic, burlesque, and harms Dante's context. Irony and humour is the "razor" used by Beckett in order to separate "The Comedy" from the generated illusions. Dante' s statue which dominates our western culture would fall into pieces and the scattered ruins would constitute the historical consequence of six centuries of reading. Beckett maybe the first to incarnate the distance,"il lungo silenzio", which now separates us from Dante
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Ricciuti, Anna Maria. "La mystique et l'ontologie chez Dante." Paris 4, 1985. http://www.theses.fr/1985PA040041.
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Taterka, Thomas. "Dante Deutsch Studien zur Lagerliteratur /." Berlin : E. Schmidt, 1999. http://catalogue.bnf.fr/ark:/12148/cb37683300k.
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Romero, Mariana Amorim. "Dante Alighieri e a busca do paraíso: de Florença à Ravena (1265-1321)." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6722.
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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.
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Diaz, Alva Blanca Beatriz. "Prolegomenos para um filosofia do amor em Dante Alighieri : um estudo do convivio." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280347.
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Orientador: Francisco Benjamin de Souza NetoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Doutorado
Doutor em Filosofia
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Franchini, Fernanda. "Entre Vargas e Mussolini: a nacionalização do Instituto Médio Ítalo-Brasileiro \"Dante Alighieri\"." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-17122015-110056/.
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Durante o Estado Novo, muitas instituições escolares e professores foram intensamente vigiados. Como a educação escolar se constituía como um dos mais importantes pilares do projeto de construção de uma nacionalidade brasileira, tudo que pudesse romper com esse ideal deveria ser contido. Este trabalho versa sobre o processo de intervenção para a nacionalização e de acusação de disseminação do credo político fascista proferido a professores, funcionários e diretores do Instituto Médio Ítalo-Brasileiro Dante Alighieri, localizado nos arredores da Avenida Paulista em São Paulo, que ocorreu após a declaração de apoio do governo brasileiro aos Aliados no decorrer da Segunda Guerra Mundial. Para isso, são consideradas as primeiras fases da história da instituição que antecedem o período de intervenção, as cerimônias e os símbolos cultivados pela comunidade escolar, as acusações e táticas de defesa contidas nos prontuários policiais e, por último, as ações relativas aos livros que compunham a biblioteca. Ao longo dos capítulos, são abordadas as formas de identificação do projeto educativo da instituição, destacando o momento em que passaram a se contrapor duas propostas nacionais: de um lado, a Itália de Mussolini e a propaganda fascista; e, de outro, a política de Vargas na tentativa de construção da nacionalidade brasileira.During the New State (Estado Novo), many educational institutions and teachers were intensely surveilled. Once school education constituted one of the most important pillars of the project of construction of a Brazilian nationality, everything that could be able to break this ideal should be refrained. The following work describes the process of intervention for the nationalization as well as the accusation of fascism dissemination suffered by the teachers, the employees and the principals of the Instituto Médio Ítalo- Brasileiro Dante Alighieri, institution located in the surroundings of Paulista Avenue, in the city of Sao Paulo. Such things happened after the statement of support made by the Brazilian Government to the Allies throughout the Second World War. The discussion held in the present work is based on the first phases of the history of the institution which precede the intervention period the ceremonies and the symbols cultivated by the scholar community, the accusations and the defense tactics present in the police reports, and finally the actions related to the books that composed the library. Throughout the chapters, the ways of identification of the educational project are addressed, highlighting the moment the two national proposals started to oppose one another: on the one hand the Italy of Mussolini and the fascist propaganda, and on the other, Vargas policies, in an attempt to build the Brazilian nationality.
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Ottaviani, Didier. "L'individualité chez Dante du Convivio à la Divine comédie." Tours, 1999. http://www.theses.fr/1999TOUR2005.
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A partir d'une étude des grands courants philosophiques du XIIIe siècle, ce travail tente de montrer la réelle originalité de la pensée dantesque, qui ne peut se résumer à une simple compilation de doctrines hétérogènes. Proche de celle de Robert Grosseteste et fondée sur le concept d'un dieu-lumière, sa métaphysique se trouve au confluent de la tradition néoplatonicienne et de l'aristotélisme arabe, et se donne comme une pensée dynamique pour laquelle l'individualité est d'abord le terme d'une quête. En montrant comment l'individu peut se diviniser par la connaissance, Dante parvient à effectuer la synthèse entre l'averroïsme et la prophétie avicennienne, tout en les intégrant au sein d'une vision chrétienne de l'être. Pour cette raison, l'œuvre d'Albert le grand est apparue être l'une des sources majeures du poète. Par la réinterprétation qu'il fait des concepts de matière et de forme, Dante élabore une véritable pensée de la métamorphose, par laquelle l'homme peut parvenir à se "transhumaniser". Le trajet de la Divine comédie apparait alors comme une remontée de l'homme vers le principe, et c'est dans ce mouvement même que celui-ci peut se constituer comme individualité véritable, comme une personne. Ce voyage est aussi une traversée de la science, et l'étude précise de l'optique ou de la médecine permet au poète de donner à sa pensée une dimension scientifique que cache parfois sa métaphysique. Parce qu'il refuse toute statique de l'être et toute stagnation des formes, Dante propose au lecteur la possibilité d'une véritable ontologie dynamique qui est une philosophie de la transformationBased on a study of one of the major philosophical trends of the 13th century, the thesis aims to reveal the originality of Dante’s thought, which cannot be summarized by a compiling of heterogeneous doctrines. Dante’s metaphysical thought, close to that of Roberto Grossatesta, and based on the concept of god-light, is at the crossroad of neo-Platonism and Arab aristotelism. It is a dynamic thought process in which individuality is first and foremost a quest. By showing how the individual becomes divine through knowledge, Dante succeeds in linking Averroes and Avicenna’s theory of prophecy, while integrating them into a Christian view of being. For this reason, Albert the Great's works are some of Dante’s major sources. Thanks to Dante’s reinterpretation of the concepts of matter and form, a true concept of metamorphosis is established, through which man can "transcend" humankind. The divine comedy therefore appears as man's journey towards principle. Thanks to this journey, man can achieve true individuality. The journey is also a travel through science, and a precise study in which medecin and optics allow the poet to add a scientific angle to his thought, which sometimes hides the metaphysical aspect. Because Dante denies being as static, and also denies the stagnation of forms, he offers the reader a veritable dynamic ontology: a philosophy of transformation
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Osols-Wehden, Irmgard. "Pilgerfahrt und Narrenreise : der Einfluss der Dichtungen Dantes und Ariosts auf den frühromantischen Roman in Deutschland /." Hildesheim : Weidmann, 1998. http://catalogue.bnf.fr/ark:/12148/cb39922092j.
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Gustaw, Chantal. "Reading Paul and Dante in the fourteenth century." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11871.
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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.
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Forte, Alessandra. "Per una filologia delle immagini: affinità iconografiche nella tradizione manoscritta della Commedia." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86071.
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In riferimento a una tradizione miniata variegata e composta di un gran numero di testimoni autonomi, si è già detto della prima acquisizione che – ribaltando il punto di osservazione, soffermandosi cioè sulle imprese gemelle e non sui prodotti unici – la presente ricerca consente di raggiungere, ovvero della possibilità di operare una prima sicura distinzione tra le imprese iconografiche derivanti da progetto autoriale e quelle facenti capo a un codice-modello già illustrato. Provando a collocarci a monte del confezionamento di ciascuno di questi codici, potremo inoltre individuare – pur con un certo margine di approssimazione – almeno due diverse dinamiche di composizione del libro, direttamente connesse alle intenzioni (esegetiche o meramente estetiche) sottese a quegli stessi approntamenti. Dedurremo agilmente che il confezionamento dei primi (corredi iconografici dipendenti da progetto autoriale), nella gran parte dei casi, avrà richiesto al miniatore coinvolto un lavoro di “traduzione” delle indicazioni (che immagineremo verbali) fornitegli da un autore e/o committente in un’immagine dapprima mentale e poi grafica, un’attività cioè, per così dire, di interpretazione: posto davanti ad alcune istruzioni, nel migliore dei casi, il miniatore individua un’immagine conforme all’indicazione fornitagli e riproduce fedelmente il frammento testuale o la peculiare lettura di quel passo suggerita dall’autore del progetto; a prescindere dalla bontà della lettura indicatagli, si fa complice della composizione di una glossa visiva o, in via alternativa, se non intende correttamente quelle stesse istruzioni, diviene responsabile dell’introduzione involontaria di «alterazioni di senso»35. In circostanze simili, fraintendimenti e banalizzazioni eventuali andranno dunque a caratterizzare la storia dell’allestimento del singolo codice e, se particolarmente insidiosi, non risulteranno sanabili (forse neanche evidenti allo studioso) a meno che non si possieda un secondo esemplare a questo affine, che valga da terreno di riscontro, o riesca di rintracciare, sulla base degli indizi disponibili, la chiave di lettura del progetto cui ricondurre eventuali deviazioni dal senso del testo. [...]
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Colosetti, Giulia <1987>. "Sul sito dell’Inferno di Dante Alighieri. Rappresentazioni e studi fra XV e XVI secolo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15610.
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Studi, commenti e confronti volti a delineare le misure e la conformazione dell’Inferno dantesco, dei giganti e di Lucifero con una panoramica sull’influenza che il locus inferi immaginato da Dante ha avuto sull’arte rinascimentale.
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Abramé-Battesti, Isabelle. "La citation et la réécriture dans la "Divine comédie" de Dante." Paris 3, 1994. http://www.theses.fr/1994PA030167.
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Cette these a pour objet l'etude de l'intertextualite dans la divine comedie de dante. Dans une premiere partie, les phenomenes intertextuels sont examines tout d'abord du pont de vue de la reception; sont exposes ensuite les procedes elementaires mis en oeuvre par le rescripteur : selection, resume, censure et amplification du texte source. La seconde partie presente les enjeux innovants de la reecriture dans la comedie: les modalites de la circulation des formes et du sens d'une langue a l'autre, d'un contexte a l'autre, et enfin au sein d'une langue a l'autre, d'un contexte a l'autre, et enfin au sein meme du poeme. Dans la troisieme partie la citation est envisagee dans sa fonction d'autorite : sont et udiees en particulier les incidences, sur la fonction d'autorite, de la fonction poetique et de la fonction mimetique da ns la comedieThe object of this thesis is the study of intertextuality in dante's comedy. In the first part, the intertextual phenome na are studied from the point of view of the reception; then the elementary proceedings of rewriting are examined : selection, omission and amplification of the original text. The second part presents the innovationg processes of rewriting tin the comedy : the modalities of the circulation of forms and meaning from one language to another, from one context to another, and within the poem itself. In the third part, quotation is anlysed trough its function of authorit y: the incidence upon the function of authority of the poetic function and the mimetic function are the main points stud ied there
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Pouzoulet, Christine. "La construction du modèle de Dante comme poète national de l'Italie romantique : de Mme de Stae͏̈l à Quinet, l'exemple de Claude Fauriel (1772-1844) et du réseau de ses relations." Paris 3, 1996. http://www.theses.fr/1996PA030063.
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Ce travail se propose de montrer comment la rehabilitation de dante a l'epoque romantique et sa sacralisation comme premier poete national de l'italie resultent de la liaison intrinseque de deux nouvelles approches. D'une part, l'emergence d'une mise en perspective historique du fait litteraire chez les ideologues et dans le groupe de coppet, puis le developpement de la nouvelle discipline universitaire des litteratures etrangeres apres 1830, modifient la perception de dante, en le resituant dans son epoque et en eclairant son genie comme creation fondatrice d'une langue et d'une litterature nationales. Dante fait ainsi l'objet d'une recuparation politique et devient un symbole liberal, temoignant des droits de l'italie a vivre comme nation. Ce travail analyse donc corollairement le fonctionnement du modele de dante dans le debat liberal francais sur le destin politique et culturel de l'italie. Cette reflexion comparatiste est menee a l'interieur du reseau des relations de laude fauriel (1772-1844) entre la france, l'italie et l'allemagne. Issu du groupe des ideologues, lie a mme de stael et benjamin constant, puis a victor cousin et a l'ecole des jeunes historiens liberaux de la restauration (guizot et thierry surtout) ainsi qu'a stendhal a son retour de milan en 1821, et a quinet apres 1830, fauriel est le premier titulaire de la chaire de litterature etrangere creee a la sorbonne apres la revolution de 1830. Son cours en 1833-34, dante et les origines de la langue et de la litterature italiennes, manifeste sa double attention aux recherches les plus recentes de la philologie allemande et aux preoccupations esthetiques et politiques des romantiques italiens, avec qui il entretient des liens privilegies par son amitie avec manzoni, son sejour en italie de 1823 a 1825, et ses echanges avec visconti et berchetThe present research aims at demonstrating how the rediscovery of dante in the romantic era and his subsequent sacralisation as the national poet of italy resulted from the conjunction of two developments. The emergence of a new historical approach to litterature, as practiced by the ideologues and the coppet group together with the institutionalization in the 1830's of foreign literatures as full-fledged academic disciplines, generated a renewed, historicized conception of dante and enlightened his poetic genius as the founding of a national language and literature. Dante's persona was charged with a new political dimension and made into a symbol of italy's legitimacy in existing as a nation. Therefore this work also consideres the functioning of dante as a model in the literal debate carried out in france on the political and cultural destiny of italy. This comparative approach is worked out through a study of fauriel's intellectual network throughout france, italy, germany. Fauriel was the first professor to hold the chair of foreign literature created at la sorbonne after the 1830 revolution. The course he professed in 1833-1834, dante and the origins of italian language and literature, demonstrates his twofold concern for the most recent research in germany and the aesthetic and political discussions carried by the italian romantics to whom he was cloesely related, through his personal friendship with manzoni, his stay in italy from 1823 to 1825 and his exchanges with visconti and berchet
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Camozzi, Pistoja Ambrogio. "Dante and the medieval Alexander." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648418.
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Brito, Emanuel França de. "A insaciável sede de saber na Comédia de Dante: algumas relações com a incontinência aristotélica." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-09022011-123256/.
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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.