Artykuły w czasopismach: „Dante”

1

Nadrchal, Jaroslav, Jiri Rogalewicz i Jiri Vesely. "DANTE". Zpravodaj Československého sdružení uživatelů TeXu 1, nr 1 (1991): 18–20. http://dx.doi.org/10.5300/1991-1/18.

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Largaiolli, Matteo. "Cattolico poeta e padre della nazione: riflessi danteschi nel pensiero politico di Alcide De Gasperi". Deutsches Dante-Jahrbuch 93, nr 1 (28.09.2018): 179–92. http://dx.doi.org/10.1515/dante-2018-0009.

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ZusammenfassungIn der Geschichte der italienischen Politik hat Dante Alighieri seit jeher eine maßgebliche Rolle gespielt. Dem Dichter und ›Vater der italienischen Sprache‹ begegnet man auch bei Alcide De Gasperi. In den politischen Schriften und Reden des italienischen Staatsmannes wird auf Dante nicht nur in rhetorischem Gestus wiederholt zurückgegriffen (z. B. als Signal eines gemeinsamen kulturellen Hintergrunds); Dante steht vielmehr im Mittelpunkt von De Gasperis politischem Denken, wenn es um die Definition und Konstruktion von Identität, um die Zugehörigkeit zur christlichen Kultur sowie um die Veranschaulichung der Rolle eines Christen in der Welt geht. Am Beispiel von De Gasperis Schriften lässt sich die Resonanz der Figur und des Werks Dantes im politischen Diskurs Italiens im 20. Jahrhundert exemplarisch darstellen.

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3

Bloom (book editor), Harold, i Laurie Detenbeck (review author). "Dante". Quaderni d'italianistica 10, nr 1-2 (1.10.1989): 337–38. http://dx.doi.org/10.33137/q.i..v10i1-2.10444.

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Polgar, Alfred. "Dante". Zeitschrift für interkulturelle Germanistik 12, nr 2 (1.12.2021): 164–68. http://dx.doi.org/10.14361/zig-2021-120213.

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Pietropaolo, Domenico. "Dante". New Vico Studies 8 (1990): 149–53. http://dx.doi.org/10.5840/newvico1990836.

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E. A. W. "Dante". Journal of Education 52, nr 13 (październik 1990): 212. http://dx.doi.org/10.1177/002205749005201305.

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Bhowmick, Sourav S., i Xiaokui Xiaokui Xiao. "DANTE". ACM SIGMOD Record 47, nr 2 (11.12.2018): 67–72. http://dx.doi.org/10.1145/3299887.3299900.

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Scott (book author), John A., i Mary Watt (review author). "Perché Dante? Translation of Understanding Dante". Quaderni d'italianistica 33, nr 1 (1.08.2012): 133–34. http://dx.doi.org/10.33137/q.i..v33i1.17091.

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Quaini, Andrea. "Daniele e Dante, Daniele in Dante". Colloquium 9788879169301 (kwiecień 2020): 105–16. http://dx.doi.org/10.7359/930-2020-quai.

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Hoffmann, Susanne M. "Planetarium Dantis: »’l volger del ciel«". Deutsches Dante-Jahrbuch 98, nr 1 (11.10.2023): 1–42. http://dx.doi.org/10.1515/dante-2023-0002.

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Zusammenfassung Diese Niederschrift ist eine Abfolge von reichlich bebilderten Erklärungen der Astronomie in der Göttlichen Komödie von Dante Alighieri. Die Textauswahl wurde von Bodo Zöll und Karl-Philipp Ellerbrock in Vorbereitung der Eröffnung der Tagung der Deutschen Dante-Gesellschaft 2022 getroffen. Bei diesem Anlass haben die Professoren Dieter Blume und Edoardo Costadura der Universität Jena Passagen aus der Comedia und Erläuterungen dazu im Planetarium vorgetragen, während ich selbst als Astronomin die Ehre hatte, die geschilderten Passagen live in der Kuppel zu erklären. Diesen Visualisierungen von Dantes Astronomie stelle ich hier einige basis-astronomische Erklärungen voran.

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11

Cachey, Jr. (book editor), Theodore J., i James Chiampi (review author). "Dante Now: Current Trends in Dante Studies". Quaderni d'italianistica 17, nr 2 (1.10.1996): 133–35. http://dx.doi.org/10.33137/q.i..v17i2.10118.

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Took, John, i Theodore J. Cachey. "Dante Now: Current Trends in Dante Studies". Modern Language Review 92, nr 1 (styczeń 1997): 214. http://dx.doi.org/10.2307/3734758.

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13

Colilli, Paul, i Theodore J. Cachey. "Dante Now: Current Trends in Dante Studies". Italica 74, nr 3 (1997): 410. http://dx.doi.org/10.2307/479943.

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Casadei, Alberto. "Osservazioni semantiche e cronologiche". Deutsches Dante-Jahrbuch 94, nr 1 (23.09.2019): 125–39. http://dx.doi.org/10.1515/dante-2019-0006.

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Zusammenfassung Der vorliegende Beitrag revidiert die bisherige Forschung zu den Bezügen zwischen Dantes Brief an Malaspina und der sogenannten »canzone Montanina«, um zu klären, zu welchem Zeitpunkt Dante sie vom Casentino aus nach Lunigiana hatte schicken können. Die vorgeschlagene Datierungshypothese (im fortgeschrittenen Jahr 1307) führt zu neuen Erkenntnissen bezüglich Dantes Biographie und seinem Abbruch des Convivio-Projekts.

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15

Cecchini, Leonardo. "Dantes kristne universalisme og islam: Dante og den europæiske identitet". K&K - Kultur og Klasse 37, nr 108 (22.08.2009): 40–57. http://dx.doi.org/10.7146/kok.v37i108.21995.

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Dante’s Christian Universalism and Islam:During the years 2001-2004, when the establishment of a Constitution for Europe was on the EU’s agenda, the suggestion to include a reference to the ‘Christian roots’ of Europe in the Constitution’s Preamble lead to an animated debate. Some Italian Catholic intellectuals (Anna Maria Chiavacci, Giuseppe Reale) took part in the debate and used Dante to illustrate the essential significance of Christianity in the European culture, thereby involving themselves in this debate. Referring to T.S. Eliot’s famous quote (»the culture of Dante was not of one European country but of Europe«), they claimed that Dante’s work was one of the greatest expressions of a Christian European cultural identity which took form in the Middle Ages and drew impulse from a synthesis of the two great Mediterranean cultural traditions: the Greek-Roman and the Jewish-Christian; a cultural identity they identified tout court with our present ‘European’ or ‘Western’ culture. It is worth observing that Chiavacci and Reale did not mention in their narrative the third great Mediterranean cultural tradition (especially in the Middle Ages) of Islam and its own likely contribution to the ‘European’ civilization. In my paper, I wish to contribute to the understanding of how Dante represents ‘Europe’ and ‘Islam’ in his work. My suggestion is that in Dante’s work we can neither find an idea of a Europe (or ‘West’) as separated or superior to other continents nor an orientalized image of the Orient as claimed by Edward Said. On the contrary, Dante considers ‘Europe’ as a metaphor for an ideal universal Christian community (with strong eschatological features), that is a community that potentially includes the whole of humanity.As few other intellectuals in the Middle Ages, Dante’s attitude to Islamic culture is primarily assimilative; he does not include but assimilates Arabian culture and philosophy to the extent that they have contributed to Christian thinking. As a good medieval Christian, Dante is hostile to Islam just because he looks at it as a heretical or schismatic version of Christianity (and therefore assimilated to his own faith), not as ‘another’ religion.

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16

Lhotka, Ladislav. "Seznam softwaru spolku DANTE". Zpravodaj Československého sdružení uživatelů TeXu 1, nr 3 (1991): 2–7. http://dx.doi.org/10.5300/1991-3/2.

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17

Risset (book author), Jacqueline, i Enrico Vicentini (review author). "Dante scrittore". Quaderni d'italianistica 10, nr 1-2 (1.10.1989): 350. http://dx.doi.org/10.33137/q.i..v10i1-2.10462.

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18

Carugati, Giuliana. "Dante "Mistico"?" Quaderni d'italianistica 10, nr 1-2 (1.10.1989): 237–50. http://dx.doi.org/10.33137/q.i..v10i1-2.10433.

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19

Rossi, Paolo L., Eric Haywood i Barry Jones. "Dante Comparisons". Modern Language Review 83, nr 2 (kwiecień 1988): 468. http://dx.doi.org/10.2307/3731748.

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20

Cacciari, Massimo. "Schelling’s Dante". Rivista di estetica, nr 74 (1.08.2020): 12–21. http://dx.doi.org/10.4000/estetica.7046.

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21

Ascoli, Albert Russell. "Starring Dante". Religions 10, nr 5 (13.05.2019): 319. http://dx.doi.org/10.3390/rel10050319.

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This essay offers an example of a guiding thread in my own research on and teaching of Dante’s Commedia. Specifically, I will follow a strand that leads us from Dante’s encounter with the “bella scola” of classical poets in Inferno Canto 4, through a key scene in the Purgatorio where Dante and his guide Virgil meet the late classical poet Statius, to the remarkable six-canto suite in the Heaven of the Stars, sign of Gemini, in which Dante-poet has Dante-character undergo a series doctrinal tests on the theological virtues. His successful response to the challenges posed by the apostles Peter, James, and Paul doubly authorizes him as poet and as Christian teacher of the highest order. These unique experiences as Dante is successively introduced to and made part of a rising series of elite groups, highlights his double role as humble student and prospective teacher of others. Among the various aims of this essay is to give a sample of a way in which teachers of the Commedia may address the perennial pedagogical problem of how to account for the extraordinary spectacle of a first-person epic that at once expresses deep piety with profound “charitas” (spiritual love) and appears as the absolute height of a self-aggrandizement seemingly inconsistent with Christian humility. Another is to suggest one possible strategy for teaching the Comedy as a whole, and especially the final canticle, the Paradiso, which even Dante himself notoriously thinks is “not for everyone”.

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22

Williams, Pamela, i Eric Haywood. "Dante Readings". Modern Language Review 84, nr 3 (lipiec 1989): 747. http://dx.doi.org/10.2307/3732480.

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Folliero-Metz, Grazia Dolores. "Dante peregrino". apropos [Perspektiven auf die Romania], nr 8 (26.07.2022): 196–215. http://dx.doi.org/10.15460/apropos.8.1925.

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Il testo della Divina Commedia abbonda di toponimi italiani, fra cui sono presenti anche molti idronimi. A questi ultimi si aggiungono le idrografie immaginate da Dante nell’Oltretomba (Inferno e Purgatorio). Il presente contributo, partendo da alcuni studi classici dei due secoli passati (di A. Bassermann, A. Sacchetto, G. Fallani), analizza il ruolo e la funzione dei toponimi e in particolare degli idronimi all’interno del testo dantesco. È possibile ravvisare in questo elemento uno fra i motori del successo della Divina Commedia in Italia, nella misura in cui i nomi geografici fanno da cerniera fra i secoli e i lettori, la poesia diventa il luogo della memoria storica e geografica e i luoghi, all’inverso, assurgono a custodi della rimembranza poetica.

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24

Zipser, Tadeusz. "Dante współczujący". Italica Wratislaviensia 5, nr 1 (30.06.2014): 475–84. http://dx.doi.org/10.15804/iw.2014.05.30.

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Pertile, Lino. "Dante popolare". Arzanà 7, nr 1 (2001): 67–90. http://dx.doi.org/10.3406/arzan.2001.897.

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Clarke, K. P., i John A. Scott. "Understanding Dante". Sixteenth Century Journal 37, nr 3 (1.10.2006): 912. http://dx.doi.org/10.2307/20478089.

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27

Ducrey, Guy. "Dante mélodramatisé". La Revue de la BNU, nr 23 (1.05.2021): 76–87. http://dx.doi.org/10.4000/rbnu.4450.

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28

Zöll, Bodo. "Dante übersetzen". Deutsches Dante-Jahrbuch 96, nr 1 (24.09.2021): 92–100. http://dx.doi.org/10.1515/dante-2021-0023.

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Kasper, Judith. "Dada Dante". Deutsches Dante-Jahrbuch 96, nr 1 (24.09.2021): 123–32. http://dx.doi.org/10.1515/dante-2021-0026.

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Riassunto Il contributo indaga le modalità con le quali il poeta russo Ossip Mandelstam, nel suo saggio Conversazione su Dante del 1933, si avvicina alla Commedia di Dante e soprattutto alla materia di essa, cioè alla sua qualità linguistica e sonora. Il suo approccio poetico ed esaltato si rivela uno strumento filologico atipico, ricordando a tratti l’eccitazione filologica del romantico Friedrich Schlegel. Il contributo cerca di mostrare in quale misura tale approccio è particolarmente efficace per analizzare la Commedia da un punto di vista poetico, avvicinandola alla poesia dell’avanguardia dell’inizio del ventesimo secolo.

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30

Bresolin, Dante. "Dante Bresolin". Revista Dental Press de Ortodontia e Ortopedia Facial 10, nr 5 (październik 2005): 17–22. http://dx.doi.org/10.1590/s1415-54192005000500003.

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Charles S. Singleton. "Why Dante". MLN 124, nr 5S (2009): 39–50. http://dx.doi.org/10.1353/mln.0.0217.

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Yesilada, Yeliz, Robert Stevens, Simon Harper i Carole Goble. "Evaluating DANTE". ACM Transactions on Computer-Human Interaction 14, nr 3 (wrzesień 2007): 14. http://dx.doi.org/10.1145/1279700.1279704.

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Majia, Jidi. "Visiting Dante". Manoa 30, nr 1 (2018): 85. http://dx.doi.org/10.1353/man.2018.0097.

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Docherty, Linda J. "Translating Dante". Religion and the Arts 22, nr 1-2 (16.02.2018): 194–217. http://dx.doi.org/10.1163/15685292-02201016.

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Abstract Isabella Stewart Gardner’s museum (Fenway Court) owes its distinctive character to the influence of Dante Alighieri. Gardner’s interest in the Italian poet originated in a context of late nineteenth-century Boston’s enthusiasm for his writing and her personal quest for a meaningful life’s work. As a student of Charles Eliot Norton, a member of the Cambridge Dante Society, and a collector of rare editions of The Divine Comedy, Gardner became apprised of issues surrounding literary translation. When she began to study visual images inspired by Dante’s poetry and to acquire European masterpieces, she was poised to conceive a variation on this practice. As a visual translation of Paradiso, Fenway Court was not an illustration of a classic text but rather a conversion of a spiritual idea of love and beauty from one art form to another. In creating a museum for public education and enjoyment, Gardner exemplified Dante’s moral concept of free will and evoked his poetic vision of heavenly beauty.

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35

Föcking, Marc. "Dante pfeifen". Deutsches Dante-Jahrbuch 94, nr 1 (23.09.2019): 37–56. http://dx.doi.org/10.1515/dante-2019-0003.

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Riassunto Due testi dell’immediato contesto della congiura dei Pazzi del 1478 dimostrano che la popolarità della Commedia, testimoniata da Franco Sacchetti e Leonardo Bruni, potrebbe essere stata strumentalizzata nella Firenze del Quattrocento, nel momento in cui si trattava di discreditare gli oppositori politici in una situazioni di crisi. Il Coniurationis commentarium di Angelo Poliziano e la poesia in terzine »Questo è il tradimento della morte di Giuliano« utilizzano entrambi il tema del traditore degli ultimi due canti dell’Inferno. Entrambi i testi presentano così i Pazzi come i nuovi Bruto, Cassio e Giuda e fanno uso del ›Dante popolare‹ per convincere il popolo fiorentino della legittimità del potere mediceo. La raffinatezza del Commentarium di Poliziano, in contrasto con la poesia in terzine più popolare, sta però nella combinazione di due discorsi sui traditori che si intensificano a vicenda, quello della Commedia e quello del De Coniuratione Catilinae di Sallustio, attraverso il quale egli non solo combina la condanna metafisico-dantesca con un verdetto di stampo intramondano ed umanistico, ma può anche mettere in scena l’unità indissolubile del popolo e dell’élite fiorentina contro i cospiratori e i loro sostenitori.

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36

Hollander, Robert. "Boccaccio's Dante". Italica 63, nr 3 (1986): 278. http://dx.doi.org/10.2307/478626.

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Parker, Deborah. "Bronzino’s Dante". Dante Studies 135, nr 1 (2017): 156–68. http://dx.doi.org/10.1353/das.2017.0005.

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38

Meier, Franziska. "Defaming Dante". Dante Studies 137, nr 1 (2019): 187–96. http://dx.doi.org/10.1353/das.2019.0011.

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39

O'Donnell, Angela Alaimo. "Dante, Darling". Italian Americana XL, nr 2 (1.08.2022): 160. http://dx.doi.org/10.5406/2327753x.40.2.15.

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Branelli, Eneo, Filippo Forlani, Chiara Murru i Giulio Vaccaro. "Dante 2021". Quellen und Forschungen aus italienischen Archiven und Bibliotheken 103, nr 1 (1.11.2023): 503–43. http://dx.doi.org/10.1515/qufiab-2023-0026.

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Abstract The year 2021 witnessed the commemoration of the seven hundredth anniversary of Dante Alighieri’s passing. Across the globe, particularly in Italy, a plethora of undertakings were orchestrated to honor this significant milestone. This paper undertakes an examination of the primary events that transpired in homage to Dante. In particular, in juxtaposition to prior centenaries, the authors center their analysis on initiatives that highlighted the rekindling of interest in Dante within Italy as the progenitor of the Italian language, his pivotal role in the establishment of an Italian collective identity, and the broader proliferation of his literary oeuvre. Concurrently, the authors delve into the dissemination and reception of the Dante anniversary on the international stage.

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Brug, Manuel. "dante project". tanz 14, nr 3 (2023): 58. http://dx.doi.org/10.5771/1869-7720-2023-3-058-2.

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Took, John, i Henry Ansgar Kelly. "Tragedy and Comedy from Dante to Pseudo-Dante". Modern Language Review 87, nr 1 (styczeń 1992): 216. http://dx.doi.org/10.2307/3732378.

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Schreiber, Sylvia. "Mein Weg zu Dante – Dante für mich heute". Deutsches Dante-Jahrbuch 96, nr 1 (24.09.2021): 83–85. http://dx.doi.org/10.1515/dante-2021-0020.

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Del Puppo, Dario. "Review: Dante Now, Current Trends in Dante. Studies". Forum Italicum: A Journal of Italian Studies 31, nr 2 (wrzesień 1997): 543–47. http://dx.doi.org/10.1177/001458589703100215.

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Nasti (book editor), Paola, Claudia Rossignoli (book editor) i Samia Tawwab (review author). "Interpreting Dante. Essays on the Traditions of Dante Commentary". Quaderni d'italianistica 36, nr 1 (27.01.2016): 235–38. http://dx.doi.org/10.33137/q.i..v36i1.26281.

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Barolini, Teodolinda. "Detheologizing Dante: For a "New Formalism" in Dante Studies". Quaderni d'italianistica 10, nr 1-2 (1.10.1989): 35–53. http://dx.doi.org/10.33137/q.i..v10i1-2.10423.

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Boli, Todd. "Boccaccio's Trattatello in laude di Dante, Or Dante Resartus". Renaissance Quarterly 41, nr 3 (1988): 389–412. http://dx.doi.org/10.2307/2861754.

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Boccaccio's Trattatello in laude di Dante is notoriously unreliable as an historical biography of the poet. Much of what is doubtful in the Trattatello has been blamed on simple misinformation, the influence of literary convention, the misreading of Dante's works, or pure invention on the part of the author. Especially susceptible to objection has been the Trattatello's representation of Dante's personal character. Leonardo Bruni, the first to offer an assessment, found Boccaccio's portrayal of Dante distorted and inadequate, and Bruni's pronouncement established an interpretative commonplace from which critical opinion has never been entirely free: “It seemed to me that our Boccaccio … described the life and manners of so sublime a poet just as though he were writing the Filocolo, or the Filostrato, or the Fiammetta, for he is all full of love and sighs and burning tears, as though the man had been born into this world merely to turn up in those ten days … related in the Centonovelle [Decameron].“

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D’Amico, Marzia. "Interpreting Dante: Essays on the Traditions of Dante Commentary". Italian Culture 34, nr 2 (2.07.2016): 110–11. http://dx.doi.org/10.1080/01614622.2016.1158571.

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Pietrobon, Ester. "I paradisi di Pier Damiani". Deutsches Dante-Jahrbuch 97, nr 1 (24.10.2022): 121–34. http://dx.doi.org/10.1515/dante-2022-0012.

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Zusammenfassung Der Essay vergleicht die poetische Darstellung von Pier Damiani im XXI. Gesang von Dantes Paradiso mit der paradiesischen Vision, die Pier Damiani im Rhytmus de gaudio paradisi skizziert. In der Commedia spielt die Seele des Heiligen eine entscheidende Rolle bei der Bekehrung von Dante-personaggio. Sie teilt mit ihm die Liebe und die Freude an der Betrachtung Gottes, ohne ihm das Geheimnis der Prädestination erklären zu können. Pier Damiani ist auch ein Beispiel für die Demut, eine wesentliche Tugend, die Dante erlernen muss, um seinen Aufstieg zum Empyreum zu vollenden. In Damianis Rhytmus hingegen ist die Vision des Paradieses mit der Ausübung der Kontemplation durch die Mönche von Fonte Avellana verbunden und zeichnet sich durch eine leuchtende, aber sehr statische Darstellung der Glückseligkeit der Heiligen aus, die keine direkte Beteiligung des Ichs am himmlischen Geschehen impliziert.

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Petrocchi (book author), Giorgio, i Enrico Vicentini (review author). "Vita di Dante". Quaderni d'italianistica 10, nr 1-2 (1.10.1989): 348. http://dx.doi.org/10.33137/q.i..v10i1-2.10459.

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