Dante | 2019 | N. 16
Anno 2019 – Annata: XVI – N. 16
A cura di Paolo Perilli
Titolo articolo: Inferno I. Incipit Comoedia
The present essay analyses the first canto of the Divine Comedy: the poetic story constitutes the initial part of the “sacred poem”. It sets out Dante’s wish to pass on to his readers the path taken in abandoning the chaos of political life and the senses so as to reach “supreme and final bliss”. The poet’s journey in the afterlife is read as one that surpasses Aeneas’ pagan voyage and acts as an example for all those willing to put faith in Dante’s story which is itself first and foremost a journey into his own conscience as a believer in Christ. Thus, the Divine Comedy, thanks to the examples underpinning it, becomes a sort of new Bible, written in vernacular in order that everybody might comprehend the messages sent to mankind by “scriba Dei”, like Dante, who offers this transcendental gift to humanity as a whole.
Lingua: ItalianoPag. 11-23
Etichette: Bibbia, Religione, XIV secolo, Dante Alighieri,
Titolo articolo: Inferno I and the Three Beasts. Two New Sources or Parallels
The three fiere that confront the protagonist in the opening scene of the Comedia have been interpreted mainly along two lines: a political interpretation relating to Dante’s time, and a more timeless moral or psychological reading of their significance. Regarding the first, a little known mural painting of three menacing animals in the former Florentine church of San Pier Scheraggio, once used for political assemblies, is of interest. As for the second line of interpretation, the article suggests a structural parallel to a folk tale, which may shed light on the pronounced genderedness of the scene: an aspect hitherto ignored in Dante scholarship.
Lingua: InglesePag. 25-39
Etichette: Pittura, Politica, XIV secolo, Dante Alighieri, La Divina Commedia,
Titolo articolo: «Come dice Seneca ne la sua tragedia». Chiosare Dante con Seneca
The connection between Dante and Seneca is still obscure for the modern critical investigation. The main problem is the medieval fortune of Seneca, to him were assigned a large number of literary works: in the anonymouses anthologies common phrases and proverbs should have been attributed to him. So it is difficult to understand when Dante used Seneca’s lection. The main objective of this essay is to detect the presence of Seneca in the ancient comments to the Dante’s Commedia.
Lingua: ItalianoPag. 41-53
Etichette: Classicismo, XIV secolo, Dante Alighieri, Lucio Anneo Seneca,
Titolo articolo: Grottesco teologico nell’Inferno di Dante
A goliardic spirit crosses Dante’s Inferno, according to a tragicomic style that has a crucial importance for the whole Divine Comedy and, above all, in the first canticle of the infernal vision where, through very strange and unexpected contrasts, which suddenly transform horror in a kind of ‘black humour’, we are preparing for the unveiling of the evil lie of the hellish fear that only on nothing is constituted and cannot succeed in blocking the necessity of our path towards light and transcendental good. The expressiveness of Dante’s realism, which modernly we could say grotesque, certainly disturbs us for that strange vis comica that does not arouse so much laughter (it cannot arouse it, in all the pain of anguish and torment that surrounds it); instead, it pushes our mind to ask crucial questions about the deceptive and illusory nature of the negative and death. The Dantean poetical insight, even by virtue of the theological influence determined by the Gospel of Nicodemus, transfigures the goliardic style of the Divine Comedy and makes it particularly profound and upsetting.
Lingua: ItalianoPag. 55-65
Etichette: Grottesco, Teologia, XIV secolo, Dante Alighieri, La Divina Commedia,
Titolo articolo: Dante e l’automobile: un percorso didattico intermediale
The invention and diffusion of cars in the 20th century have had a great impact on modern society. The importance of car culture in social imagination has been reflected in several Dantesque readings and works. For example Charon’s ferry and the trip on Geryon’s back started to be read as an anticipation of the automotive voyage by creative minds in the areas of advertisement, literature, cinema, and comics. At first, complying to Marinetti’s Manifesto, Dantesque verses had become a starting point for the exaltation of means of transport and the fascination for them. Later at the end of century, the new environmental awareness encouraged an opposite interpretation of the car, seen as a potentially infernal vehicle.
Lingua: ItalianoPag. 69-83
Etichette: Cinema, Pubblicità, XX secolo, XXI secolo, Dante Alighieri,
Titolo articolo: La voce di Dante nei contemporanei (Rassegna bibliografica 2015-2018)
In this essay, which does not exhaust all the contemporary studies of Dante, for the magmatic nature of matter that would always require updating, to the reader will be offered the opportunity to look the panorama of ‘creative dantism’ of the last five years. If the wish of the Supreme Poet was to bring culture to the masses, today we can certainly affirm that that desire has been fully awaited; even in today’s era of consumerism and indifference, Dante is one of those few classics that is not crammed between dusty and dark shelves but reread and rewritten with a facies so atypical but adequate to the needs of modern readers.
Lingua: ItalianoPag. 85-100
Etichette: Creatività, Dantismo, XIV secolo,
Titolo articolo: La Lectura Dantis Nicaeana
The first session of the Lectura Dantis Nicaeana, organised by Rosa Maria Dessì and Giampiero Scafoglio, was held on December 1, 2017 at the Italian Consulate in Nice. The Canto i of Inferno was presented by Raffaele Giglio, who insisted on the unique character of Dante’s experience : a path of repentance through the
exploration of consciousness and the vision of the afterlife. The commentary on Inferno i was followed by Giuliano Milani’s exposition that retraced Dante’s itinerary between Florence and Rome, transfigured into an ideal journey: from earthly, corrupt and unholy Florence to heavenly Rome. Pietro Delcorno ended the session by analyzing a collection of anonymous Latin sermons, designed for vernacular preaching, structured as a free and creative rewrite of Dante’s Comedy.
As for the second session of the Lectura Nicaeana, held on April 20, 2018, the reader was Rino Caputo who, after an accurate lexical analysis, showed that Inferno ii is the theological premise on which the structure of the Commedia rests: in this perspective, Dante’s journey reveals to be a journey to Beatrice in whom the revealed truth is identified.
Pag. 103-110
Etichette: Coscienza, XIV secolo, Dante Alighieri,
Titolo articolo: Dante profeta e scriba dei?
The prophetic investitures that Dante has conferred on him in the Divine Comedy meet different needs. Those of Beatrice and Saint Peter respond to the poet’s deeply rooted desire for a profound reform of the Church. The one given by Saint Peter Damien draws attention to another theme which is equally dear to Dante, that of the inherent limits of human knowledge. Finally, that of Cacciaguida aims to dispel the poet’s fears about the possible negative repercussions that could result from his proclamation of truths having «a savour of strong herbs».
Lingua: ItalianoPag. 113-123
Etichette: Chiesa, Conoscenza, XIV secolo, Dante Alighieri, La Divina Commedia,
Titolo libro/articolo recensito: “Io dico seguitando”. Studi sul testo della “Commedia” e la sua data di composizione
Rivista: Dante nel mondo, fascicolo n. 10
Edizioni: Aracne, Canterano (RM) – 2017
Lingua: Italiano
Pag. 127-131
Recensore/i: Rossano De Laurentiis
Etichette: Dantismo, XIV secolo, XXI secolo, Dante Alighieri, La Divina Commedia,
A cura di: Zygmunt G. Barański Autore, Theodore J. Cachey Jr. e Luca Lombardo
Edizioni: Salerno Editrice, Roma – 2019
Lingua: Italiano
Pag. 131-134
Recensore/i: Thomas Persico
Etichette: Citazione, Critica del testo, Critica letteraria, Dantismo, XIV secolo, XXI secolo, Dante Alighieri,
