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Presents a verse translation of Dante's "Inferno" along with ten essays that analyze the different interpretations of the first canticle of the "Divine Comedy."
This new critical edition, including Mark Musa's classic translation, provides students with a clear, readable verse translation accompanied by ten innovative interpretations of Dante's masterpiece.
"A fresh, new version of a 1962 translation that has had enormous popularity in comparative literature classes. The Vita Nuova (the New Life) is a small book which relates in prose and often very beautiful verse the story of the youthful Dante's love for Beatrice. The esay which follows the translation provides new insights into this puzzling thirteenth-century work. Musa regards Dante's intention in this so-called "Book of Memory" as a cruel and comic commentary on the youthful lover. He argues that Dante, using the tradition of love poetry current in his time, points up the foolishness and shallowness of his protagonist, a self-centered and self-pitying youth who only occasionally in the progress of his suffering catches even a glimpse of the true nature of Love or his beloved. "The sensitive man who would realize a man's destiny must ruthlessly cut out of his heart the canker at its center [i.e. self-pity], the canker that the heart instinctively tends to cultivate." According to Musa, this is one of Dante's central ideas. Dante scholars, libraries, and students of the Italian classics will welcome this distinguished translation and its provocative commentary"--Back cover.
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Dante on View opens an important new dimension in Dante studies: for the first time a collection of essays analyses the presence of the Italian Medieval poet Dante Alighieri in the visual and performing arts from the Middle Ages to the present day. The essays in this volume explore the image of Dante emerging in medieval illuminated manuscripts and later ideological and nostalgic uses of the poet. The volume also demonstrates the rich diversity of projects inspired by the Commedia both as an overall polysemic structure and as a repository of scenes, which generate a repertoire for painters, actors and film-makers. In its original multimediality, Dante's Commedia stimulates the performance of readers and artists working in different media from manuscript to stage, from ballet to hyperinstruments, from film to television. Through such a variety of media, the reception of Dante in the visual and performing arts enriches our understanding of the poet and of the arts represented at key moments of formal and structural change in the European cultural world.
This comparative study investigates the epic lineage that can be traced back from Derek Walcott’s Omeros and Ezra Pound’s Cantos through Dante’s Divina Commedia to the epic poems of Virgil and Homer, and identifies and discusses in detail a number of recurrent key topoi. A fresh definition of the concept of genre is worked out and presented, based on readings of Homer. The study reads Pound’s and Walcott’s poetics in the light of Roman Jakobson’s notions of metonymy and metaphor, placing their long poems at the respective opposite ends of these language poles. The notion of ‘epic ambition’ refers to the poetic prestige attached to the epic genre, whereas the (non-Bloomian) ‘anxiety’ occurs when the poet faces not only the risk that his project might fail, but especially the moral implications of that ambition and the fear that it might prove presumptuous. The drafts of Walcott’s Omeros are here examined for the first time, and attention is also devoted to Pound’s creative procedures as illustrated by the drafts of the Cantos. Although there has already been an intermittent critical focus on the ‘classical’ (and ‘Dantean’) antecedents of Walcott’s poetry, the present study is the first to bring together the whole range of epic intertextualities underlying Omeros, and the first to read this Caribbean masterpiece in the context of Pound’s achievement.
This enthralling new translation of Dante’s Inferno “immediately joins ranks with the very best” (Richard Lansing). One of the world’s transcendent literary masterpieces, the Inferno tells the timeless story of Dante’s journey through the nine circles of hell, guided by the poet Virgil, when in midlife he strays from his path in a dark wood. In this vivid verse translation into contemporary English, Peter Thornton makes the classic work fresh again for a new generation of readers. Recognizing that the Inferno was, for Dante and his peers, not simply an allegory but the most realistic work of fiction to date, he points out that hell was a lot like Italy of Dante's time. Thornton's translation captures the individuals represented, landscapes, and psychological immediacy of the dialogues as well as Dante's poetic effects. The product of decades of passionate dedication and research, his translation has been hailed by the leading Dante scholars on both sides of the Atlantic as exceptional in its accuracy, spontaneity, and vividness. Those qualities and its detailed notes explaining Dante's world and references make it both accessible for individual readers and perfect for class adoption.
Dante put Muhammad in one of the lowest circles of Hell. At the same time, the medieval Christian poet placed several Islamic philosophers much more honorably in Limbo. Furthermore, it has long been suggested that for much of the basic framework of the Divine Comedy Dante was indebted to apocryphal traditions about a “night journey” taken by Muhammad. Dante scholars have increasingly returned to the question of Islam to explore the often surprising encounters among religious traditions that the Middle Ages afforded. This collection of essays works through what was known of the Qur’an and of Islamic philosophy and science in Dante’s day and explores the bases for Dante’s images of Muhammad and Ali. It further compels us to look at key instances of engagement among Muslims, Jews, and Christians.
Dante's persistent and pervasive presence has been a remarkable feature of modern writing since the late eighteenth century. This collection of essays by an international group of scholars emphasizes that presence in the work of major British and Irish writers (such as Blake, Shelley, Joyce and Heaney). It also focuses on responses in America, the Caribbean and Italy and deals with appropriations of Dante's work by poets (from Gray to Walcott) and novelists (such as Mary Shelley and Giorgio Bassani, and Gloria Naylor).
A bold retelling of the history of lying in medieval and early modern Europe Is it ever acceptable to lie? This question plays a surprisingly important role in the story of Europe's transition from medieval to modern society. According to many historians, Europe became modern when Europeans began to lie—that is, when they began to argue that it is sometimes acceptable to lie. This popular account offers a clear trajectory of historical progression from a medieval world of faith, in which every lie is sinful, to a more worldly early modern society in which lying becomes a permissible strategy for self-defense and self-advancement. Unfortunately, this story is wrong. For medieval and early modern Christians, the problem of the lie was the problem of human existence itself. To ask "Is it ever acceptable to lie?" was to ask how we, as sinners, should live in a fallen world. As it turns out, the answer to that question depended on who did the asking. The Devil Wins uncovers the complicated history of lying from the early days of the Catholic Church to the Enlightenment, revealing the diversity of attitudes about lying by considering the question from the perspectives of five representative voices—the Devil, God, theologians, courtiers, and women. Examining works by Augustine, Bonaventure, Martin Luther, Madeleine de Scudéry, Jean-Jacques Rousseau, and a host of others, Dallas G. Denery II shows how the lie, long thought to be the source of worldly corruption, eventually became the very basis of social cohesion and peace.