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Nicholas Havely examines the connections between Dante, the Franciscans and the Papacy as they appear in the Commedia, and presents the poem as one concerned with an often dramatic confrontation between authority and idealism in the church. Havely draws on a wide range of literary, historical and art historical sources relating to the controversy about Franciscan poverty during the late thirteenth and early fourteenth centuries. He argues that the Spiritual Franciscans' strict interpretations of evangelical poverty provided the poet with a means of addressing the state of the contemporary Papacy and of imagining the renewal of the church. He also explores the origins and afterlife of the debate about this form of poverty and Dante's contribution to it. This study will appeal to scholars interested in medieval religious and intellectual history, as well as to readers of Dante's poem and other medieval visionary and political writing.
The essays in this volume address the interrelationship between Dante and the Franciscan intellectual tradition and demonstrate how all disciplines can come together to shed light on how the Franciscan intellectual component informs so much of Dante’s writing and how in turn Franciscan writing is informed by Dante's work.
"For all that has been written about the author of the Divine Comedy, Dante Alighieri (1265-1321) remains the best guide to his own life and work. Dante's writings are therefore never far away in this authoritative and comprehensive intellectual biography, which offers a fresh account of the medieval Florentine poet's life and thought before and after his exile in 1302. Beginning with the often violent circumstances of Dante's life, the book examines his successive works as testimony to the course of his passionate humanity: his lyric poetry through to the Vita nova as the great work of his first period; the Convivio, De vulgari eloquentia and the poems of his early years in exile; and the Monarchia and the Commedia as the product of his maturity. Describing as it does a journey of the mind, the book confirms the nature of Dante's undertaking as an exploration of what he himself speaks of as "maturity in the flame of love." The result is an original synthesis of Dante's life and work." --Amazon.com.
Exploring the diverse factors that persuaded Christopher Columbus that he could reach the fabled "East" by sailing west, Dante, Columbus and the Prophetic Tradition considers, first, the impact of Dante’s Divine Comedy and the apocalyptic prophetic tradition that it reflects, on Columbus’s perception both of the cosmos and the eschatological meaning of his journey to what he called an ‘other world.’ In so doing, the book considers how affinities between himself and the exiled poet might have led Columbus to see himself as a divinely appointed agent of the apocalypse and his enterprise as the realization of the spiritual journey chronicled in the Comedy. As part of this study, the book necessarily examines the cultural space that Dante’s poem, its geography, cosmography and eschatology, enjoyed in late fifteenth century Spain as well as Columbus’s own exposure to it. As it considers how Italian writers and artists of the late Renaissance and Counter Reformation received the news of Columbus’ ‘discovery’ and appropriated the figure of Dante and the pseudo-prophecy of the Comedy to interpret its significance, the book examines how Tasso, Ariosto, Stradano and Stigliani, in particular, forge a link between Dante and Columbus to present the latter as an inheritor of an apostolic tradition that traces back to the Aeneid. It further highlights the extent to which Italian writers working in the context of the Counter Reformation, use a Dantean filter to propagate the notion of Columbus as a new Paul, that is, a divinely appointed apostle to the New World, and the Roman Church as the rightful emperor of the souls encountered there.
This volume includes a collection of essays of scholars from several disciplines and focuses on the art produced for the Franciscans in Italy from the 13th to the 15th century. They contain a wide range of subject matter (fresco, panel, stained glass window) and a variety of approaches.
Dante's Divine Comedy can compel and shock readers: it combines intense emotion and psychological insight with medieval theology and philosophy. This volume will help instructors lead their students through the many dimensions--historical, literary, religious, and ethical--that make the work so rewarding and enduringly relevant yet so difficult. Part 1, "Materials," gives instructors an overview of the important scholarship on the Divine Comedy. The essays of part 2, "Approaches," describe ways to teach the work in the light of its contemporary culture and ours. Various teaching situations (a first-year seminar, a creative writing class, high school, a prison) are considered, and the many available translations are discussed.
Re-examining key passages in Dante’s oeuvre in the light of the crucial issue of moral choice, this book provides a new thematic framework for interpreting the Divine Comedy. Olivia Holmes shows how Dante articulated the relationship between the human and the divine as an erotic choice between two attractive women—Beatrice and the “other woman.” Investigating the traditions and archetypes that contributed to the formation of Dante’s two beloveds, Holmes shows how Dante brilliantly overlaid and combined these paradigms in his poem. In doing so he re-imagined the two women as not merely oppositional condensations of apparently conflicting cultural traditions but also complementary versions of the same. This visionary insight sheds new light on Dante’s corpus and on the essential paradox at the poem’s heart: the unabashed eroticism of Dante’s turn away from the earthly in favor of the divine.
This book is a major re-appraisal of the Commedia as originally envisaged by Dante: as a work of ethics. Privileging the ethical, Corbett increases our appreciation of Dante's eschatological innovations and literary genius. Drawing upon a wider range of moral contexts than in previous studies, this book presents an overarching account of the complex ordering and political programme of Dante's afterlife. Balancing close readings with a lucid overview of Dante's Commedia as an ethical and political manifesto, Corbett cogently approaches the poem through its moral structure. The book provides detailed interpretations of three particularly significant sins - pride, sloth, and avarice - and the three terraces of Purgatory devoted to them. While scholars register Dante's explicit confession of pride, the volume uncovers Dante's implicit confession of sloth and prodigality (the opposing subvice of avarice) through Statius, his moral cypher.
In Dante's Journey to Polyphony, Francesco Ciabattoni's erudite analysis sheds light on Dante's use of music in the Divine Comedy. Following the work's musical evolution, Ciabattoni moves from the cacophony of Inferno through the monophony of Purgatory, to the polyphony of Paradise and argues that Dante's use of sacred songs constitutes a thoroughly planned system. Particular types of music accompany the pilgrim's itinerary and reflect medieval theories regarding sound and the sacred. Combining musicological and philological scholarship, this book analyzes Dante's use of music in conjunction with the form and content of his verse, resulting in a cross-discipline analysis also touching on Italian Studies, Medieval Studies, and Cultural History. After moving from infernal din to heavenly harmony, Ciabattoni's final section addresses the music of the spheres, a theory that enjoyed great diffusion among the early middle ages, inspiring poets and philosophers for centuries.