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1
Rengifo, Davalos Martin, Villacorta Fiorella Patricia Melgarejo, Alatrista Elvira Isabel Vergara, and Jeri Luis Fernando Lavado. "Cortometraje “Dante”." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/18361.
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“Dante” es un proyecto que invita a nuestra generación a reflexionar sobre la presencia de las
redes sociales en nuestras vidas y las repercusiones que acarrea el uso de las mismas en
nuestro estado emocional. Así, el proyecto es creado con el objetivo de proponer una nueva
forma de interpretar nuestra relación con las redes sociales mediante la representación de
símiles del mundo digital y visual. No se presenta a un individuo que consume los contenidos
de manera pasiva desde el otro lado de la pantalla de su dispositivo, sino que más bien se
propone la existencia de un ser sin sexo definido, inmerso en una representación del mundo
de las redes, el cual experimenta de manera directa. Además, a través de la secuencia del
recorrido del protagonista, se busca que el corto sea una ventana para el espectador hacia su
mundo interno, el cual se encuentra en constante contacto con el mundo digital y con las
emociones que pueden experimentarse por la inmersión en las redes. Finalmente, esperamos
que los espectadores vean en “Dante” una representación de esos momentos en los que nos
hemos sentido abrumados por lo que encontramos al navegar en las redes, lo que incluso
puede consumirnos sin darnos cuenta.<br>"Dante" is a project that invites our generation to reflect on the presence of social networks in
our lives and the repercussions that the use of them has on our emotional state. Thus, the
project is created with the aim of proposing a new way of interpreting our relationship with
social networks, through the representation of similes of the digital and visual world. An
individual who consumes content passively from the other side of the screen of his device is
not presented in this short, but rather the existence of a being without a defined sex is
proposed, who is immersed in a representation of the world of social networks, which he
experiences directly. In addition, through the sequence of the protagonist's journey, the short
film is intended to be a window for the viewer to his internal world, which is in constant
contact with the digital world and with the emotions that can be experienced by getting into
social networks. Finally, we hope that viewers see in "Dante", a representation of those
moments in which we have been overwhelmed by what we find when browsing the Internet,
which could consume us without even realizing.<br>Trabajo de investigación
2
Dick, Maria-Daniella. "Dante ... Joyce : Derrida." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2494/.
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James Joyce remains a logocentric figure, a position confirmed in his perceived relation to Dante within a patriarchal canonical lineage and its philosophical implications. Joyce also occupies this position within the writing and thought of Jacques Derrida, for whom his work then represents both the logos and its own deconstruction. In contrast, this thesis proposes that Joyce in fact is not a logocentric author, and that his writing is explicitly directed towards a deconstruction of the idea of the logos. This claim is advanced through the suggestion that there is in Joyce a deconstruction rather than a validation of the phonocentric linguistic theory and practice of Dante, and concomitantly of a patriarchal Joyce construed through that Dante. In this interrogation of the Dantean logos by Joyce’s writing the thesis then reads the Derridean view on Joyce and examines its investments, proposing that in it there are wider implications for a critical reading of Derrida’s work and for an understanding of his grammatology. It does so in three imagined papers on Joyce and Dante, an insert, a lecture and an essay. They constitute phantom artefacts in which to read deconstructively, and to read deconstruction, by unbinding Derrida’s Joyce. The first chapter is an imagined insert from Joyce and Dante into Of Grammatology and its first chapter, ‘The End of the Book and the Beginning of Writing’. In the folds of the insert it is proposed that Derrida cleaves to the idea of the book and is bound to it in Joyce. This binding initiates a retrospective reading of ‘The End of the Book and the Beginning of Writing’ and of the wider grammatological opening; its implications are unfolded in the insert. By then unbinding the thread of a logocentric Dante in Joyce, the insert unbinds Joyce from the Derridean idea of the book and furthermore suggests that Joyce, read in the deconstruction of Dante, represents the closure of the book as imagined in that essay. Building upon the proposal of a Joycean closure of the book as unfolded in chapter one, the second chapter advances and outlines the shape of that closure in an imagined lecture by Joyce. The chapter follows the displaced letter a in Ulysses as it interrogates mimesis, tracing the development of a subject in différance. The lecture performs that deconstruction of mimesis and, in doing so, announces not the apotheosis but the death of the realist novel in Ulysses. The final chapter draws together the conclusions of the previous two chapters in an imagined essay that arche-writes ‘Two Words for Joyce’ as an example of its own thesis. It does so in a previously untraced Dantean connection, through a conversation between Joyce and Beckett on Dante that finds its way into Finnegans Wake and is archived in the two words Derrida extracts as the spur for his essay. The imagined essay brings together Derrida, Beckett and Joyce in Dante as a concatenation of pairs within the pair of essays; it also shadows another pair, the Derridean Joyce and his other from whom the imagined essay comes. It both performs a deconstructive reading of Derrida in ‘Two Words for Joyce’ and then, through that reading, more widely affirms a Derridean grammatology. The argument of the thesis as it has advanced through the three chapters is here brought to a conclusion, suggesting that in Joyce’s writing it can be proposed that the relationship of deconstructive reading to its own practice is mediated through literature; it also proposes what might be a relationship between deconstructive reading and literature beyond those consequences.
3
Balfour, Mark. "Dante and Crusade." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286481.
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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 limites<br>Comparative 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
5
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 Dante<br>Dante 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
6
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 vérité<br>The creation is the fundamental notion of Dante's philosophy but creation and Trinity are knowable only through revelation. .
7
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.<br>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.
8
Leopoldo, Raphael Novaresi. "Nas pegadas de dante." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106988.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura, Florianópolis, 2013<br>Made available in DSpace on 2013-12-05T22:55:07Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Esta pesquisa de mestrado acadêmico busca evidenciar as relações dialógicas do romance brasileiro A Divina Paródia, sobretudo para com a obra A Divina Comédia, ambas tratadas neste estudo como realização literária do inferno alegórico cristão. Para isso, pelo viés dos estudos comparados entre Teologia e Literatura, revisitam-se conceitos teóricos, especialmente escatológicos e paródicos, buscando-se perceber
o sentido do gênero paródico com laços religiosos no contexto da contemporaneidade.<br>This Master's degree academic research aims at pointing the dialogic relations in the Brazilian novel A Divina Paródia (The Divine Parody), especially between it and The Divine Comedy, both works portrayed in this study as literary depiction of the Christian allegoric hell. To do so, considering the compared studies between Theology and Literature, theoretical concepts are revisited, mostly eschatological and parodic ones, in an attempt of understanding the meaning of the parodic genre with religious bonds contemporarily.
9
Yeo, Wei Wei. "The presence of Dante in the work of Dante Gabriel and Christina Rossetti." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/251733.
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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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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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Priest, Beatrice. "Fecundity and sterility in Dante." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708536.
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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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Taterka, Thomas. "Dante Deutsch Studien zur Lagerliteratur /." Berlin : E. Schmidt, 1999. http://catalogue.bnf.fr/ark:/12148/cb37683300k.
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Possamai, Jackeline Maria Beber. "Leitura do limbo de Dante." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90585.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura<br>Made available in DSpace on 2012-10-23T12:38:35Z (GMT). No. of bitstreams: 1
241100.pdf: 484013 bytes, checksum: 7798097572bf82ad8815ba70b0533269 (MD5)<br>O Limbo, presente no Canto IV do Inferno da Divina Comédia constitui um elemento novo, introduzido por Dante à luz das concepções religiosas de seu tempo. O presente trabalho propõe uma leitura desse Limbo, enfatizando os aspectos que lhe são inerentes, como a sua localização, a sua descrição como um lugar estático, os suspiros reinantes e a existência de um castelo que abriga os grandes pensadores e poetas da Antigüidade. Essa diversidade de elementos torna o Canto IV um momento particular
na viagem de Dante pelo Inferno, além de enfatizar questões ligadas à religião católica, entre elas o batismo como elemento essencial para a salvação da alma. Ainda dentro dessa pesquisa, aborda-se a questão da intertextualidade favorecida pela presença de muitos personagens da mitologia clássica e os seus autores. A trajetória do peregrino Dante através do Limbo permite-lhe a sua distinção entre os expoentes máximos da literatura clássica.
16
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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Isba, Anne. "Gladstone and Dante : the place of Dante in the life and thought of a Victorian statesman." Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391219.
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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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Auersperg, Ruth E. "Dante : exilic discourse as self-constitution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56814.
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This thesis is grounded in philosophy and in literature. It is concerned with the recognized human need for self-affirmation and with the consequences of its denial caused by exile. For the victim this means the loss of social interaction and public moral agency within his natural community through which self-affirmation can be actualized.<br>In certain types of exilic literature constructive reactions were found to counteract this loss of freedom of choice of action and place, which entails potential annihilation of the exile's personal integrity.<br>In the exilic text of Dante as my chosen case study, I investigate the use of philosophical and literary means admitting of various kinds of self-referential expressions and of similacra of moral agency as substitutes for self-affirmation by public acts. Stimulated by these means, an intellectual and moral 'self-portrait' of the poet eventually emerges in the reader's consciousness. This 'portrait' is no static image of a pre-existent character, but a dynamic presence of an evolving human person of intellectual and moral integrity, as a reflection of the poet's self-perception.<br>By sample analyses and comparisons, my exposition substantiates the claim that Dante's text exemplifies the distinct and identifiable literary mode to which I refer as 'Exilic Discourse'.
20
Robinson, Jasmes Christopher. "Joyce and Dante : Excile, memory, community." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535023.
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Caselli, Daniela. "Dante and Beckett : authority constructing authority." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287638.
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Marples, Kevin. "Theology, prophecy and politics in Dante." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15762/.
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Principally this thesis will deal with defining, accounting for, and examining, the relationship between the theological and the political in Dante's use of prophecy. It will be demonstrated that it is an over-riding feature of Dante’s thought in both the Monarchia and the Commedia that the only remedy against cupidity, and the damage it does to the world, is ecclesiastical poverty combined with imperial power. This thesis will show that much of the urgency and passion with which Dante communicates his political and social message in the Commedia, which seems to advocate both ecclesiastical poverty and imperial power as prerequisites for the ideal human society, is through his use of prophecy and of prophetic language. I demonstrate the way in which contemporary responses to the Old Testament prophets and the book of Revelation seem to have influenced Dante’s prophetic manner, but also seeks to highlight the unique nature of Dante’s response to the currents of thought he encountered, in particular the adoption of religious prophecy as the means by which some of the most innovative aspects of his political thought are articulated.
23
Ricciuti, Anna Maria. "La mystique et l'ontologie chez Dante." Paris 4, 1985. http://www.theses.fr/1985PA040041.
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Brown, Christopher E. "Writing Time: Dante, Petrarch, and Temporality." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845461.
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Trecento Italy, the century of Dante and Petrarch as well as the mechanical clock, represented a pivotal moment of innovation to formal measures of time. These creative expressions reflected transforming notions of ingenuity, and of man’s ability to shape the world and time in which he lived. While the mythic awakening of the self-conscious individual in Renaissance Italy has been largely demystified, criticism has tended to overlook the concurrent shifts to the Trecento temporal imagination, born of parallel practices that sought to recover cosmogonic secrets, and thus power over time. An intriguing conceptual connection lies in the multifaceted ingegno (and its Latin ancestor, ingenium), not merely a faculty or talent but a touch of the divine within, the dynamic enactment of which impels movement in, and beyond, time. Privileging the exceptional ingegno of Trecento to Quattrocento Italy, my dissertation engages in a three-part investigation of its manifestations, which evoke temporal tensions in the dialectic between particular and universal, finite ontology and pure existential being. Part one re-examines the mechanical clock, both a symbol and instrument, and its complex relation to bells in Trecento Florence. Informed by these symbols, part two, turning to poetic ingegno, conducts close readings of Dante’s Commedia and Petrarch’s Canzoniere — granting particular attention to the orologio of Paradiso 10, and the circularity of sestina 30, “Giovene donna sotto un verde lauro,” each emblematic of the manner in which the poets reconstitute time. Finally, part three considers the centrality of the human “maker” in the time matrix of Quattrocento Florence, juxtaposing the strategies of Lorenzo de’ Medici and Girolamo Savonarola to maximize, and transcend, finite time. This multidimensional approach not only excavates a more complete image of time in Renaissance Italy, but also reimagines the progression from Dante to Petrarch, and Petrarch to Italian poetry thereafter. The examination, I suggest, illuminates a paradoxical legacy: on one hand, in the glorification of man’s creativity; and on the other, in the existential anxiety of the time-conscious individual, endemic to modern chronophobia. The increasingly abstracted and self-referential time bespeaks a conspicuous absence of the sacred center, anticipating the transience that has plagued modernity.<br>Romance Languages and Literatures
25
Monteiro, da Rocha Gibson. "Dante: um percurso pela literatura brasileira." Universidade Federal de Pernambuco, 2007. https://repositorio.ufpe.br/handle/123456789/7746.
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Previous issue date: 2007<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Qualquer grande obra literária é escrita a partir de um congresso de escritores e poetas que
se perfazem no íntimo de quem escreve. Na Literatura Brasileira viemos destacar que a
presença de Dante tem cadeira cativa nesses eventos. Além de compor uma das obras de
maior vulto da Literatura Ocidental, Dante tem marcado outras expressões literárias
posteriores, como a Brasileira. A partir do Estudo das obras de Álvares de Azevedo, Castro
Alves, Augusto dos Anjos e Guimarães Rosa intentaremos descortinar o modo como a
leitura da Commedia foi importante na formação estética desses autores. Traçando, a partir
disso, uma panorâmica da presença do poeta florentino na Literatura Brasileira
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Libaude, Christophe. "La symbolique du sang chez Dante." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30009.
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Notre lecture de la première partie de la Vita Nova, fondée à la fois sur le symbolisme du sang présent dans la première vision de Dante et sur la scène initiatique du mariage (le rire des femmes), nous permet de pénétrer dans le réseau symbolique de l'œuvre. Ainsi le sang versé par Paolo et Francesca fait écho au sang de Béatrice, et ne peut être compris que par rapport à une symbolique du livre présente dès la Vita Nova, non seulement avec l'image du "livre de la mémoire", mais surtout avec un cœur mangé compris dans le sens d'un engendrement de l'œuvre. Si la courtoisie ne peut être chez Dante qu'une courtoisie infernale, une courtoisie tournée non seulement vers les morts mais aussi vers le centre de la terre, il faut alors rejeter toute interprétation moraliste et théologique des valeurs courtoises chez Dante. En ce sens, notre travail invite à une reconsidération de la théologie chez Dante, et surtout du rapport entre Béatrice et la théologie. Et si nous invitons le lecteur de Dante à se montrer prudent non seulement envers des lectures trop moralisatrices de Dante au vingtième siècle, mais aussi envers toute tendance à idéaliser la figure de Béatrice, c'est pour mettre en évidence une double figuration de la différence sexuelle dans l'œuvre du poète: celle d'une union portant à un engendrement et rendant nécessaire la périlleuse traversée de l'Enfer, et celle d'une opposition terrifiante des femmes à l'initiation du poète (dans la Vita Nova)et à la traversée de l'Enfer. C'est ici que nous rencontrons non seulement la figure de Méduse, qui nous conduira à une longue réflexion sur la pétrification chez Dante, mais aussi le mythe d'Orphée, avec une opposition des femmes conduisant, après son voyage dans les régions mythiques de l'Hyperborée, à sa mort tragique lorsqu'il est déchiqueté par les femmes thraces. Ces réflexions nous auront porté non seulement à reconsidérer le sens de la figure d'Orphée dans le deuxième livre du Banquet, mais aussi le sens de l'allusion aux monts Riphée dans le chant XXVI du Purgatoire, en rapport à une symbolique du vent du Nord et du vent du Sud qui traverse une grande partie de l'œuvre du poète. Ainsi prend sens notre étude du cycle des "Rime Petrose", avec la figure pétrifiante de la Dame Pierre (rapprochée de Méduse), et la mise en évidence d'un symbolisme solsticial rendant plus complexe encore la question du dévoilement de Béatrice. Notre travail commençait avec le sang de Béatrice, il s'achève avec le reproche de la dame quant à l'esprit pétrifié et "teint" du poète("impetrato, tinto"), point de convergence d'un double parcours dans l'œuvre, que nous avons appelé le chemin du sang et le chemin de la pierre<br>Our interpretation of the first part of the Vita Nova, based on the symbolism of blood present in the first vision of Dante and the initiatic wedding scene (the "gab"), enables us to get an insight of the Dante's symbolic system. One of the main ideas of this work is that love not only leads to death, but also to the experience of the Inferno. In other words, in Dante's work the dialectics of love and death is solved by a confrontation to the realm of the dead, which the poet first experiences when he both witnesses and takes part in the initiatic female rite during the wedding scene of the Vita Nova. Dante's courtly love does not simply come down to the dialectics between passionate love and purified love; thus, the ideal path from Eros to Caritas is being questioned, since Dante's courtly love, which reveals the initiatic structures revolving around Beatrice's unveiling, opens onto the realm of the dead. so any moralist or theological interpretation of Dante's courtly love shouldn't be accepted, whether in the Vita Nova or in the Fifth Canto of the Inferno: love is first and foremost an access to knowledge. We move on to the figure of Medusa and the question of petrification, linked not only to the blood symbolism but to a complex solsticial system. Petrification turns out to be a necessary step of the journey towards Lucifer
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Rocca, Giorgio <1994>. "Echi di Dante nella letteratura giapponese." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18592.
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Questa tesi ha come fine quello di delineare come Dante Alighieri abbia influenzato la letteratura giapponese dall’era Meiji ad oggi. La tesi è composta da una breve introduzione e da tre capitoli con annessa bibliografia.
Il primo capitolo consiste in una panoramica letteraria dell‘influenze che ha avuto Dante sui maggiori autori giapponesi moderni e contemporanei nell'ambito della prosa, della poesia e del manga.
Nel secondo capitolo cercherò di analizzare il concetto di peccato e inferno per Akutagawa Ryunosuke e di comprendere come i riferimenti all’Inferno di Dante vengano utilizzati come rappresentazione psicologica del protagonista dell’opera Haguruma.
Il terzo capitolo è incentrato su Ōe Kenzaburō. In questo capitolo esamino la vita, lo stile, i temi, e alcune delle opere più importanti dell’autore. Dopo di che prendo in esame la sua opera Gli anni della nostalgia. Analizzo il romanzo e alcune delle sue parti in cui Ōe Kenzaburō utilizza, attraverso i personaggi principali di Gii e Kei, le parole di Dante.
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Grießer, Florian. "Politik gegen >patria< - Berlusconi und Dante : Dantes politische Theorien im Licht von Literatur, historischer Wirklichkeit und ideologischer Nachwirkung /." München : Utz, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3173359&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Reid, George D. T. "Dante and the Roman de la rose : a contribution to the study of Dante and Old French literature." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272265.
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Colonnese, Benni Vittoria. "Dante nel cinema dal muto al digitale." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0021/NQ45726.pdf.
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Hooper, L. E. "Questions of exile in Dante and Pasolini." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604215.
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Exile is central to the work of Dante (1265-1321) and Pasolini (1922-1975); both writers suffered banishment and each presented himself as an outsider. It is often hypothesised that there is a relationship between this exiled status and the innovative approach of these writers to their work. My thesis investigates this proposition. In the <i>Vita nova</i> – written c. 1293-1295, some years before Dante’s banishment in 1302 – I argue that both Dante’s poetic self and his texts are already configured as pilgrims through exile in a Christian tradition stretching back through Gregory and Augustine to Paul. The duality of the exile/pilgrim motif, which expressed both the perpetual estrangement of this world and the eternal hope of spiritual progress in the next, underwrites the <i>libello</i>’s hybrid textuality, allowing it to remain suspended between many of the oppositional binaries of medieval writing – prose and verse, sacred and secular, vernacular and Latin. In my study of Pasolini’s verse tragedies of the late 1960s, I show how Pasolini builds on the estranging nature of the dramatic form to construct a theatre that communicates the author’s sense of boom-era Italians as a people in exile via both formal and thematic means. My reading of the plays shows exile’s necessity in understanding their negotiation between subjectivity and history – the capital issues in Pasolini’s varied career. Finally, I examine the issue of Eden in the Earthly Paradise cantos of Dante’s <i>Comedy</i> (1307-1321), and Pasolini’s novels <i>La divina mimesis </i>(1975), <i>Atti impuri</i> and <i>Amado mio </i>(both c. 1950). These narrative works attach an Edenic quality to the lyric writings with which both men began their careers, and aspire to a place within the boundaries of this Edenic lyric tradition. I conclude that the crossing of boundaries implicit in Dante and Pasolini’s self-presentation as Italian writers in exile allows them to justify breaking new ground artistically whilst still making a powerful statement of civic and cultural belonging.
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Kay, Tristan. "Eros, spirituality, and vernacular poetry in Dante." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522729.
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Gattamorta, Lorenza. "Luzi, Eliot and Dante : language and experience." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268804.
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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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Lauriello, Christopher Lewis. "Church and State in Dante Alighieri's "Monarchia"." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104155.
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Thesis advisor: Robert C. Bartlett<br>This study examines Dante Alighieri's presentation of the relation between Church and State and of their foundations in either the Christian faith or philosophic reason. It seeks to demonstrate how Dante's unmodern acceptance of a teleological understanding of the world and man’s place in it allows him to distinguish the two while also showing how both work together even as they understand differently the role that reason should play in human life. It is because of this distinction that Dante's Monarchia shares in the political principle of “separation” that underlies the secular regimes of the West, thereby making his work immediately accessible to modern-day readers. It is because of the way reason and faith also work together in his political treatise, however, that Dante does not endorse, as readers today would, the further separation of his State from Society. This is because for Dante the very ideas of Church and State not only presuppose the existence of the highest goods of man -namely, that terrestrial good that pertains to man insofar as he is a natural being, and that spiritual good that pertains to man insofar as he is a creature capable of being transfigured by the divine grace of God. They also are intended to embody and publicly promote these two goods. Thus for Dante the Church is meant to help man attain his immortal end, which consists in the supernatural act of seeing God "face to face," while the State is meant to help man attain his mortal end, which consists in grasping philosophic truths. And so it is for these teleological and illiberal reasons that Dante's work remains as inaccessible as it does familiar to readers today. Yet it is by virtue of his refusal to forge our distinctively modern course, and so because of his acceptance of an "outdated" Aristotelian principle of teleology, that Dante's philosophic politics establishes a clearer demarcation between Church and State or reason and faith than modern political philosophies do. His Monarchia is therefore an invaluable guide for all those who wish to acquire a better understanding of the nature and limit of each. This latter claim can prove to be true, however, only if the end of his treatise is understood in light of what many scholars have either ignored or denied in their reading of the Monarchia, and that is Dante’s "Latin Averroism."<br>Thesis (PhD) — Boston College, 2015<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Political Science
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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.<br>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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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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Araujo-Rousset, Anthony de. "Figures françaises de Dante : un mythe romantique." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3008.
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Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’Esprit<br>This work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit
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Reid, Joshua. "Angelic Viscosity: Dali and Dante in Paradise." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/2864.
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Longhin, Mattia <1983>. "Tradizione biografica popolare: Dante e il Risorgimento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1676.
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Caretto, Mara <1988>. "Fortuna e ricezione di Dante nel Trecento." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4133.
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Polesana, Marta <1984>. "Una lunga fedeltà: Boccaccio interprete di Dante." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4414.
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Lungo la sua carriera di letterato e studioso, Boccaccio ha assunto un ruolo importante nell'interpretazione e nella celebrazione di Dante: ha raccolto testi che altrimenti sarebbero andati perduti, si è sottoposto alla fatica di copista ed editore del corpus poetico in volgare, ha innalzato il poeta fiorentino ad auctoritas non solo prendendolo a modello nelle proprie opere ma anche annoverando il suo nome insieme ai classici in una ideale continuità delle lettere, lo ha promosso presso Petrarca e ha celebrato la Commedia quale esempio di poesia conforme alla dottrina cattolica, esponendone i significati letterale e allegorico all'eterogeneo uditorio fiorentino in pubbliche letture. Nelle sue opere dissemina inoltre elogi e commenti sul valore di Dante definito poeta, filosofo, teologo e considerato degno dell'incoronazione con l'alloro. L'opera destinata a consegnare l'immagine dell'esule fiorentino è la biografia, caratterizzata da un intento laudativo e posta ad introduzione delle antologie esemplate nei codici Toledano 104.6 e Chigiano L V 176: il Trattatello in laude di Dante, composto in tre redazioni che testimoniano l'incessante riflessione boccacciana sul maestro che ha praticato la poesia nella forma più nobile. Benché attraverso le riscritture dell'opera l'autore venga influenzato, soprattutto dal discepolato petrarchesco, sul valore del volgare, egli mantiene immutata l'opinione e l'ammirazione verso la sua “prima fax”.
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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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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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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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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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Vandi, Serena. "Satura : varietà per verità in Dante e Gadda." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22892/.
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This thesis is a comparative study of the works of Dante Alighieri (1265-1321) and Carlo Emilio Gadda (1893-1973), and more specifically, of Dante's Commedia and Gadda's main literary corpus. It aims to demonstrate that we can identify in both authors' works a similar correlation between 'variety' (linguistical, rhetorical, stylistic, and of content) and the need to reveal the deepest truth of reality. To identify this correlation, the thesis makes use of the category of 'satura': by using the original name of 'satire', I aim to extend beyond that genre two of its key aspects, variety of form and content and a mission to unveil the truth, to identify them and their connection as fundamental structures in the works of Dante and Gadda. The main methodology of this research will be a rhetorical-stylistic analysis of Dante's and Gadda's texts, paying particular attention to their metaliterary meanings, alongside the observation of the authors' reflections on poetics. Some specific intertextual references are used to reinforce the main comparative approach, which aims to go beyond issues of literary influence. By identifying what 'satura' means for Dante and Gadda, this comparison aims, on the other hand, to help us to understand Dante through Gadda, and Gadda through Dante. After the introduction, which focuses on the purposes, theoretical framework and methodology of this study, the first section defines the theoretical correlation 'truth through variety' in Dante and Gadda, which appears to lie at the base of their works, tying together ethics, metaphysics, gnoseology and poetics. In the second section I move on to a comparative analysis of three rhetorical-stylistic strategies in Dante and Gadda: enumeration, simile and compound neologism; these techniques have in common the function of relating a variety of elements. The third and final section observes the ways in which that 'relating' process gets close to the aim of revealing the truth; I analyse some rhetorical 'extremes' of satura, in relation to the issue of the ineffability of the truth, the dialectic between the form of satura which implies 'fullness' and the contrasting form based on textual 'emptiness', and finally the textual borders of satura (openings and endings), in order to consider its all-encompassing anxiety and its power to reveal the ultimate truths: God, for Dante, and grief, for Gadda. Beyond the fundamental differences which separate a medieval and a twentieth-century author, or precisely on the basis of them, the thesis offers a reflection on some general matters in literary criticism, in particular on an essential relationship in literature: that between the formal structure of the text and its ethical-gnoseological potentiality.
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Rushworth, Jennifer Frances. "Discourses of mourning in Dante, Petrarch, and Proust." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4efea31d-85c5-4a68-893e-ac694ebfa08d.
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This thesis interpolates medieval and modern authors and theorists, namely Dante, Petrarch, and Proust on the one hand, and Freud, Kristeva, and Derrida on the other. I propose that these writers are intimately connected and differentiated by their meditations on grief and loss. I compare, confront, and contrast these narratives of mourning in a discursive shuttling to and fro between medieval and modern, French and Italian, and literature and theory, in order to delineate the specificities of different forms of melancholia as legible in Dante’s Commedia, Petrarch’s Canzoniere, and Proust’s A la recherche du temps perdu, and as illuminated by Freudian melancholia, Kristeva’s Soleil noir, and Derrida’s concept of ‘demi-deuil’. I challenge the homogeny of the modern concept of melancholia and juxtapose it with the medieval sin of acedia in Dante (Inferno VII) and Petrarch (considering both the Secretum and the Canzoniere). From the examples of the treatment of the myth of Orpheus and the book of Lamentations, I argue that discourses of mourning are trapped in a fruitful tension between a desire for uniqueness or originality and a desire for legibility or the comfort of communality. In Girardian terms, I define literary representations of mourning as ‘mimetic’, that is, caught in a web of intertextual imitation and preoccupations of genre and tradition which are at odds with a quest for new forms of writing. Finally, I contend that the relationship between content and form is particularly close in grief-stricken texts, and characterise my chosen primary texts – including Dante’s Vita nuova – according to the twin poles of endlessness (which I equate with melancholia) and finitude (the teleological, closed nature of the work of mourning), with a Derridean alternative of unstable oscillation between the two (‘demi-deuil’).
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Shiguehara, Alexandre Koji. "Exílio íntimo: leitura da poesia de Dante Milano." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-20122016-143725/.
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Amigo próximo de Manuel Bandeira, Aníbal Machado, Heitor Villa-Lobos e outros artistas eminentes do Modernismo brasileiro, Dante Milano (1899-1991) publicou seus poemas em livro apenas tardiamente, em 1948, sob o título de Poesias. Apesar do reconhecimento crítico imediato, sua obra permaneceu sempre, como ainda hoje, sendo lida por um público diminuto fato normalmente atribuído antes de tudo ao temperamento muito discreto do poeta. Mais do que repetir a constatação da injusta impopularidade de uma grande poesia, cabe a tarefa de qualificar a sua grandeza, sugerindo com isso certa singularidade da voz poética. Um aspecto forte de tal singularidade será certamente o feitio clássico predominante nos versos de Dante, a impressão de um equilíbrio harmônico a despeito da facilmente notável abundância de pares antitéticos nos poemas, como a treva e a luz, o concreto e o abstrato, o novo e o antigo. A atenuação dos contrastes particulariza na linguagem algo que se mostra fundamental para o próprio pensamento do poeta, a simultaneidade da atenção ao mundo material e da absorção em si mesmo que tende a interiorizar e a transfigurar os seres e as coisas. A resposta da poesia de Dante Milano à realidade do deslocamento do homem moderno parece compor-se nesse espaço intervalar cavado pela intimidade a qual, sem se evadir por completo da vida objetiva, não deixa de reconhecer em relação a ela um radical distanciamento, nomeado em certos poemas como o exílio. Manifesta-se a natureza íntima desse exílio poético na voz baixa, na serenidade de tom própria do poeta capaz de relativizar a dor e evitar a expressão do desespero por confiar na profundidade da instância subjetiva em que o canto se instaura e, discretamente, perdura.<br>A close friend of Manuel Bandeira, Aníbal Machado, Heitor Villa-Lobos and some other prominent artists from brazilian Modernism, Dante Milano (1899-1991) has published his poems in a book just lately, in 1948, with the title Poesias. Even though there was immediate critical acknowledgment, his work has always remained, as it currently is, being read by a small public a fact that is usually imputed above all to the very discrete temper of the poet. Rather than repeating the general finding of the unfair unfamiliarity of a great poetry, a proper task would be to specify its greatness, so suggesting some singularity of this poetic voice. An important aspect of such singularity would certainly be the classical feature that predominates in Dantes verses, a harmonic equilibrium impression notwithstanding the remarkable abundance of antithetical pairs in the poems, as darkness and light, concrete and abstract, new and antique. The mitigation of contrasts particularizes in the language something that seems to be crucial for the poets thought, the simultaneity of attention to the material world and of absorption of mind that tends to interiorize and to transfigure beings and things. The response of Dante Milanos poetry to modern man truth of displacement seems to be composed at this intervallic space built by his intimacy an intimacy that, without completely deceiving objective life, nevertheless recognizes a deep detachment from it, named in certain poems as the exile. The intimate nature of this poetic exile is expressed in the low voice, in the serene tone, characteristic of a poet who is capable to ease the pain and to avoid the expression of despair for trusting in the deepness of the subjective sphere in wich his poetry establishes itself and, discretely, remains.
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Kukul, Vanessa Moro. "Crise e irresolução: a poesia de Dante Milano." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-05012015-130510/.
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Dante Milano (1899-1991) é um poeta do Rio de Janeiro conhecido tanto pela qualidade da sua obra poética, um verdadeiro mar enxuto, quanto pelo seu retraimento. O ponto de vista ressabiado de Milano nada tem a ver com uma postura conservadora, favorável ao academicismo e à estagnação estética, coaduna-se à atitude de poetas formados a partir de um modernismo em curso, constantemente meditado e julgado. Sua capacidade de se identificar e de se desidentificar com o modernismo brasileiro é reveladora de sua independência pessoal como também da índole do movimento modernista no Rio de Janeiro, distinta em relação a São Paulo. Dante Milano publicou, em 1948, Poesias, cujos poemas foram produzidos a partir da década de 1920; depois da primeira publicação, a obra ganhou novas edições acrescidas de outros textos (poemas, textos em prosa, traduções e/ou textos críticos). Orientada pela crise e pela negatividade, a obra poética milaniana, tomada como objeto neste estudo, é sulcada por paradoxos, ironias e imagens de desagregação. O tratamento conferido à guerra e aos conflitos internos, à separação entre homem e natureza, à transformação da paisagem, à constituição de um sujeito lírico em queda e em constante autorreflexão expressa tanto a incorporação consciente da crise quanto a mimetização de uma consciência em crise. O poeta carioca explicita em sua poesia a perplexidade individual e coletiva diante do andamento conflituoso da sociedade, das diferentes formas de violência, do descompasso entre o acelerado avanço da modernização e a manutenção das condições de vida precárias. O questionamento a respeito de como agir e enfrentar o mundo desencantado converte-se numa perspectiva hesitante do sujeito lírico que flerta com a autodestruição<br>Dante Milano (1899-1991) is a native of Rio de Janeiro poet known for the quality of his poetry and by its withdrawal. The wary view of Milano has nothing to do with a conservative approach, conducive to scholarship and aesthetic stagnation, is consistent with the attitude of poets formed in a Modernism in progress, constantly meditated and tried. His ability to identify and to misidentify himself with the Brazilian Modernism is revealing of personal independence as well as the nature of the modernist movement in Rio de Janeiro, distinct relative to São Paulo. Dante Milano published in 1948, Poesias, whose poems were produced from the 1920s; after the first publication, the book gained new editions containing other texts (poems, prose, translations and / or critical texts). Prompted by crisis and negativity, Milanos poetry, taken as an object in this study, is furrowed by paradoxes, ironies and pictures breakdown. The treatment given to war and internal conflicts, the separation between man and nature, the transformation of the landscape, the establishment of a lyrical subject falling and constant self-reflection expresses both conscious incorporation of the crisis as mimicking an awareness in crisis. The poet explains in his poetry the individual and collective puzzlement on the conflicting progress of society, different forms of violence, the mismatch between the rapid advancement of modernization and maintenance of poor living conditions. The question is: how to act and face the disenchanted world becomes a hesitant perspective of lyrical subject who flirts with selfdestruction