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In this superb translation with an introduction and commentary by Allen Mandelbaum, all of Dante's vivid images--the earthly, sublime, intellectual, demonic, ecstatic--are rendered with marvelous clarity to read like the words of a poet born in our own age.
An attractive new alternative as both a translation and a pedagogical tool. The volume includes an excellent introduction by Dante scholar Steven Botterill (Univ. of California, Berkeley), clear and informative notes by lifelong Dantist Anthony Oldcorn, a concise bibliographical note that indicates some important sources on Dante in print and online, and a diagram of Hell; Index of the Damned lists characters who appear in the canticle. The translator's preface explains Lombardo's choices as he faced the always-challenging task of rendering Dante's poetry into English. Among the most interesting choices are the occasional use of rhyme--especially in key passages and at the end of each canto, where interlocking rhymes that mimic Dante's terza rima are consistently employed--and an emphasis on creating a version that works well as an oral presentation, following the long tradition of private, public, and theatrical readings of the poem. The volume includes the original Italian text, thus facilitating classroom references and comparisons. --Rebecca West (Department of Romance Languages and Literatures, University of Chicago) in Choice
His new translation of Dantes INFERNO with a Foreword on The Poet and the Poem; an individual note briefly recapitulating each of the 34 Cantos and explaining names and terms important for the readers understanding; and an Epilogue on the ascent to the Terrestrial Paradise reflects long familiarity with this medieval classic and assumes, as the Preface emphasizes, that far from being an inaccessibly distant monument, it speaks compellingly to contemporary readers both through graphic portrayal of horrors all too familiar to our own age, and by vividly presenting its central character (who is at once the 14th-century Florentine Dante Alighieri and each one of us traveling the journey of our lifes way) as a wandering exile, and the one living person, subject to feelings ranging from tearful pity to outraged horror, in the dead world of the eternally damned. To this extent, it is in part a Human as well as of a Divine Comedy. And although it is only the first of the three major segments of that comedy of movement from the sorrows and sufferings of Hell up the steep slopes of Purgatory to the eternal bliss of the Celestial Paradise, INFERNO can be read, as it has often been read from its own time through many centuries since, as a whole in itself. Its travelers ultimately find that their long and terrifying descent to the lowest depths of the world turns suddenly into ascent up through the previously unknown opposite hemisphere to a new world where they once again see the stars. The translation, as explained in the Foreword, is an English approximation of the terza rima of the Italian original, a difficult form invented by Dante and rarely used by later poets. This is no incidental aspect of the poem, for its interlinking of rhymes throughout each canto is fundamental to its movement. No translation can of course be perfect, especially in so difficult a meter from so different a language; and some previous English-language efforts have foundered on excessively many awkward archaisms, inversions, and forced rhymes. Yet the attempt to substitute an alliterative so-called terza rima more theoretical than audible (and only discernible, if at all, by close scrutiny of the page), has proved barely distinguishable, when read aloud (as all poetry should be read), from plain prose in which some very fine translations exist with no claim to being verse. In so far as the present translation dares hope to transmit, however incompletely, integration of the poems elevated style and subject matter with the grace of its subtly fluid verse form, it might boldly hazard a claim to be the best translation of Dantes great poem yet made in English. At the very least, anyone who knowingly undertakes so forbidding, if not indeed so impossible, an endeavor must never lasciare ogni speranza (abandon all hope), as those do who enter the gates of Hell! For to convey even a little of Dantes poetic power and beauty is already much.
Between 1550 and 1650, Europe was swept by a fascination with wondrous accounts of monsters and other marvels - of valiant men slaying dragons, women giving birth to animals, young girls growing penises, and all manner of fantastic phenomena. Known as 'fairy tales,' these stories had many guises and inhabited a variety of literary texts. The first two collections of such fairy tales published on the continent, Giovan Francesco Straparola's Le piacevoli notti and Giambattista Basile's Lo cunto de li cunti, were greeted with much enthusiasm at home and abroad and essentially established a new literary genre. Contrary to popular thought, Italy, not Germany or France, was the birthplace of the literary fairy tale. This fascination with the marvellous also extended to the worlds of science, medicine, philosophy, and religion, and many treatises from the period focused on discussions of monsters, demons, magic, and witchcraft. In Fairy-Tale Science Suzanne Magnanini looks at these 'science fictions' and explores the birth and evolution of the literary fairy tale in the context of early modern discourses on the monstrous. She demonstrates how both the normative literary theories of the Italian intellectual establishment and the emerging New Science limited the genre's success on its native soil. Natural philosophers, physicians, and clergymen positioned the fairy tale in opposition in opposition to science, fixing it as a negative pole in a binary system, one which came to define both a new type of scientific inquiry and the nascent literary genre. Magnanini also suggests that, by identifying their literary production with the monstrous and the feminine, Straparola and Basile contributed to the marginalization of the new genre. A wide-ranging yet carefully crafted study, Fairy-Tale Science investigates the complex interplay between scientific discourse and an emerging literary genre, and expands our understanding of the early modern European imagination.