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Literature Criticism
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From: Dante: Summa Medievalis: Proceedings of the Symposium of the Center for Italian Studies, SUNY Stony Brook[(essay date 1995) In the following essay, Contrada surveys a decade of scholarly discussion regarding the interpretation of Brunetto’s appearance in the Inferno. Contrada summarizes the ideas of three authors who accept...
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From: Logos[(essay date fall 2004) In the following essay, Enright stresses that for Dante, sin is always tied to confession and forgiveness in the Commedia and his other writings, and she draws a lesson for the modern church...
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From: Dante Studies[(essay date 1975) In the following essay, Davis contends that Dante’s view of history is “both archaic and eschatological,” looking back to an idealized Roman Empire and forward to the emergence of a Christian ruler who...
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From: PMLA[(essay date 2008) In the following essay, Herzman recounts his experience of teaching the Commedia to inmates at the Attica Correctional Institution in upper New York State.] One doesn't get too many teaching moments...
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From: Telos[(essay date summer 2007) In the following essay, Coggeshall contradicts Edward Said's view of Islam in the Commedia, arguing that to Dante Islam is not part of an "orientalized" geographical East, but rather a...
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From: Dante on View: The Reception of Dante in the Visual and Performing Arts[(essay date 2007) In the following essay, Roglieri focuses on the many composers--from the sixteenth century to twentieth-century performance artists--who have taken on the challenge of trying to capture musically the...
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From: Dante’s Fearful Art of Justice[(essay date 1984) In the following essay, Cassell examines questions raised by Dante’s account of the sixth circle, the realm of the heretics, and utilizes a discussion of this passage to illuminate the “theological,...
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From: Dante and the Unorthodox: The Aesthetics of Transgression[(essay date 2005) In the following essay, Iannucci focuses on Dante's depiction of Limbo, the first circle of Hell in the Inferno, and the theological disagreements it engendered in his own time.] In the fourth canto...
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From: Dante and the Unorthodox: The Aesthetics of Transgression[(essay date 2005) In the following essay, Feltham and Miller examine the “nudity of the Damned” as a signification of the “desecration of the divine image” found throughout the Inferno. The authors analyze unsettling,...
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From: Dante and the Origins of Italian Literary Culture[(essay date 2000) In the following essay, originally published in 2000, Barolini focuses on Dante's notion of hell, which she argues derives from the ideas of Aristotle, St. Augustine, and Thomas Aquinas, but which...
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From: Dante Studies[(essay date 1966) In the following essay, Freccero examines Canto I of the Inferno and suggests that the dark wood in which Dante finds himself resembles the “region of unlikeness” described by Saint Augustine of Hippo...
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From: Comitatus[(essay date 2008) In the following essay, Bowen analyzes how Dante attempted to reconcile the Virgilian erotic/stoic dichotomy, as manifested in the character of Dido, through his use of pazïenza as an erotic,...
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From: Dante's Hermeneutics of Salvation: Passages to Freedom in the Divine Comedy[(essay date 2007) In the following excerpt, Baur examines the Commedia as "Dante's poetic account of his conversion," emphasizing the importance of his learning to interpret himself and the world correctly, as well as...
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From: American Poetry Review[(essay date 2005) In the following essay, originally published in 2005, Stewart suggests that Dante's approach to poetry in general, and to the Commedia in particular, is that of the poet undergoing a series of...
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From: Romance Quarterly[(essay date summer 2007) In the following essay, Kleinhenz examines how Dante's citation of other works in the Commedia guides the reader in particular ways that reveal the meaning Dante wishes to convey.] In the...
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From: Dante and the Unorthodox: The Aesthetics of Transgression[(essay date 2005) In the following essay, Lund-Mead contends that Dante inverts gender identities of the lustful sinners in his account in the Inferno, implicitly identifying himself with the character of Dido and...
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From: American Poetry Review[(essay date January/February 2008) In the following essay, Balakian comments on Italian author Primo Levi's account of how a passage from Canto 26 of the Inferno helped him during his imprisonment in the Auschwitz...
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From: Philological Quarterly[(essay date 1983) In the following essay, Noakes suggests that traditional interpretations of the episode of Paolo and Francesca, which assume that Francesca’s remarks constitute an indictment of literature, are...
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From: Dante on View: The Reception of Dante in the Visual and Performing Arts[(essay date 2007) In the following essay, Wagstaff presents an overview of Dante's influence on film from the point of view of cinematographers' attempts to adapt and interpret his works.] Value in aesthetic and...
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From: PMLA[(essay date 1945) In the following essay, Gilbert debunks the mathematical precision some commentators ascribe to Dante’s hell. He notes several cases of charts and schema purporting to give exact plan and dimension...