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Dante’s Latin treatise Monarchia inscribes itself within the long medieval conflict between Pope and Emperor and the debate that opposed the theorists of theocracy to the supporters of the empire. The Monarchia, traditionally assumed to be a subversive work as its tormented reception testifies – it remained listed in the Index of Prohibited Books from 1559 to the end of the 19th century – results from the strong connection Dante emphasized between politics and ethics. The bene esse of human beings is the crucial issue that the treatise discusses since its very beginning. More than focusing on power and sovereignty, the Monarchia aims to demonstrate that the government of a single universal ruler guarantees the achievement of the natural goal of human life. The central role assigned to the Emperor discloses, in fact, the importance the poet gives to earthly happiness and to the temporal dimension of humanitas. The essays in this volume are the result of the first International Symposium of the Global Dante Project of New York, a scholarly initiative committed to the systematic study of the whole of Dante’s opus. Held in 2015 and devoted to the Monarchia, this inaugural event saw the participation of scholars from Europe and the USA who investigated Dante’s political treatise addressing diverse issues and from multiple and innovative methodological perspectives. The fertile discussion generated on that occasion and the insights it produced animate this book.
A treatise concerning papal powers and rights in the politics and temporal affairs of France, written during the clash between King Philip IV of France and Pope Boniface III. -- p. 11.
While earlier scholars have viewed Dante's treatise as peacefully divorced from its times, Cassell shows that Dante's pose of calm authority above the fray was at once traditional, forensic, courageous, and hard-won." "Cassell examines in close detail Dante's relations to his patron Can Grande della Scala, Pope John XXII's atempts to strip Can Grande of his privileges, the pertinent traditions of canon law, the culture of contemporary political and ecclesiastical publicists, the work of formal logicians, and the motives of Dante's first post-mortem opponent, Friar Guido Vernani. The author traces the treatise's reception through and beyond the first censorship and public burning that it suffered in Bologna at the hands of Cardinal Bertrand du Poujet in 1328."
This book, first published in 1996, is a translation of a fascinating work by one of the world's great poets.
Leading scholar Albert Russell Ascoli traces the metamorphosis of Dante Alighieri – minor Florentine aristocrat, political activist and exile, amateur philosopher and theologian, and daring experimental poet – into Dante, author of the Divine Comedy and perhaps the most self-consciously 'authoritative' cultural figure in the Western canon. The text offers a comprehensive introduction to Dante's evolving, transformative relationship to medieval ideas of authorship and authority from the early Vita Nuova through the unfinished treatises, The Banquet and On Vernacular Eloquence, to the works of his maturity, Monarchy and the Divine Comedy. Ascoli reveals how Dante anticipates modern notions of personalized, creative authorship and the phenomenon of 'Renaissance self-fashioning'. Unusually, the book examines Dante's career as a whole offering an important point of access not only to the Dantean oeuvre, but also to the history and theory of authorship in the larger Italian and European tradition.
An authoritative and comprehensive intellectual biography of the author of the Divine Comedy 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.
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.