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Dr Kirkpatrick analyses Dante's Paradiso through the language, organisation of the poem, and religious and philosophical belief.
Having plunged to the uttermost depths of Hell and climbed the Mount of Purgatory in parts one and two of the Divine Comedy, Dante ascends to Heaven in this third and final part, continuing his soul’s search for God, guided by his beloved Beatrice. As he progresses through the spheres of Paradise he grows in understanding, until he finally experiences divine love in the radiant presence of the deity. Examining eternal questions of faith, desire and enlightenment, Dante exercised all his learning and wit, wrath and tenderness in his creation of one of the greatest of all Christian allegories.
Examines humility as a key to the Comedy's poetry, demonstrating its theological vibrancy for today's readers.
Fifty timeless novels in one collection, plus additional bonus classics: The Oresteia by Aeschylus Rashomon and Seventeen Other Stories by Ryunosuke Akutagawa Little Women by Louisa May Alcott The Divine Comedy by Dante Alighieri Between Past and Future by Hannah Arendt and Jerome Kohn Eichmann in Jerusalem by Hannah Arendt Pride and Prejudice by Jane Austen The Poetics of Space by Gaston Bachelard Peter Pan by J. M. Barrie The Wizard of Oz by L. Frank Baum Around the World in Seventy-Two Days and Other Writings by Nellie Bly The Brontë Sisters by Charlotte Brontë, Emily Brontë, and Anne Brontë Alice's Adventures in Wonderland and Through the Looking-Glass by Lewis Carroll In Patagonia by Bruce Chatwin The Spy by James Fenimore Cooper Great Expectations by Charles Dickens Crime and Punishment by Fyodor Dostoyevsky The Three Musketeers by Alexandre Dumas The Psychopathology of Everyday Life by Sigmund Freud The Iliad by Homer The Odyssey by Homer The Haunting of Hill House by Shirley Jackson We Have Always Lived in the Castle by Shirley Jackson Niels Lyhne by Jens Peter Jacobsen On the Road: The Original Scroll by Jack Kerouac Tristes Tropiques by Claude Levi-Strauss The Call of the Wild, White Fang, and Other Stories by Jack London The Call of Cthulhu and Other Weird Stories by H. P. Lovecraft The Moon and Sixpence by W. Somerset Maugham Of Human Bondage by W. Somerset Maugham All My Sons by Arthur Miller The Crucible by Arthur Miller Death of a Salesman by Arthur Miller A View from the Bridge by Arthur Miller Anne of Green Gables by L. M. Montgomery A Little Larger Than the Entire Universe by Fernando Pessoa Twelve Angry Men by Reginald Rose The Theory of Moral Sentiments by Adam Smith Angle of Repose by Wallace Stegner The Acts of King Arthur and His Noble Knights by John Steinbeck East of Eden by John Steinbeck The Grapes of Wrath by John Steinbeck The Short Novels of John Steinbeck by John Steinbeck Of Mice and Men and The Moon Is Down by John Steinbeck Dracula by Bram Stoker Black Lamb and Grey Falcon by Rebecca West The Age of Innocence by Edith Wharton Three Novels of New York by Edith Wharton Gray When You Are Old by William Butler Yeats We by Yevgeny Zamyatin
Dante, Artist of Gesture proposes a visual technique for reading Dante's Comedy, suggesting that the reader engages with Dante's striking images of souls as if these images were arranged in an architectural space. Art historians have shown how series of discrete images or scenes in medieval places of worship, such as the mosaics in the Baptistery of San Giovanni in Florence or the frescoes in the Scrovegni Chapel in Padua, establish not only narrative sequences but also parallelisms between registers, forging links between those registers by the use of colour and gestural forms. Heather Webb takes up those techniques to show that the Comedy likewise invites the reader to make visual links between disparate, non-sequential moments in the text. In other words, Webb argues that Dante's poem asks readers to view its verbally articulated sequences of images with a set of observational tools that could be acquired from the practice of engaging with and meditating on the bodily depictions of vice and virtue in fresco cycles or programmes of mosaics in places of worship. One of the most inherently visible aspects of the Comedy is the representation of signature gestures of the characters described in each of the realms. This book traces described gestures and bodily signs across the canticles of the poem to provide a key for identifying affective and devotional itineraries within the text.
Dante and Petrarch are two of the world's greatest love poets who convey the story of their emotional, intellectual, and religious life in part through a story of human love. The focus here is not so much on the myriad symbolic values and associations of Beatrice and Laura but rather both on the attitudes of these two poets to sexual desire in order to throw some light on the character of their human love and on the status and value they give to human love in the context of their Christian lives.For all the stark contrasts between them, Dante and Petrarch have been often compared, for they write in a common literary, classical, and Christian tradition. The comparison generally leads to the conclusion that Dante describes his human love experience as positive and constructive whilst Petrarch's experience of love is negative and destructive. My intention here is not to polarize their views in this way, but rather to identify the different yet positive and highly original value both poets attribute to human love. More than fifty years ago, Etienne Gilson claimed that Peter Abelard turned to loving God in the way that Heloise had loved him, with the disinterestedness which she claimed in loving him and which she accused him of never understanding in loving her. It is the general argument of this study that Dante and Petrarch, as well as leaving their original mark on the treatment of love in literature, have insights into religion, personal to them, which can be likewise characterized by examining their attitude to human love and the story of their personal loves. There are many more aspects to their Catholicism than are examined in these essays. The discussion here is of that part of their faith which grows out of, is coloured by, or at least can be explored, through their human loving.
A stunning 3-in-1 deluxe edition of one of the great works of Western literature An epic masterpiece and a foundational work of the Western canon, The Divine Comedy describes Dante's descent into Hell with Virgil as his guide; his ascent of Mount Purgatory and reunion with his dead love, Beatrice; and, finally, his arrival in Heaven. Examining questions of faith, desire, and enlightenment and furnished with semiautobiographical details, Dante's poem is a brilliantly nuanced and moving allegory of human redemption. This acclaimed blank verse translation is published here for the first time in a one-volume edition. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Imagining the Woman Reader in the Age of Dante brings to light a new character in medieval literature: that of the woman reader and interlocutor. It does so by establishing a dialogue between literary studies, gender studies, the history of literacy, and the material culture of the book in medieval times. From Guittone d'Arezzo's piercing critic, the 'villainous woman', to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante's female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio's overtly female audience, this particular interlocutor appears to be central to the construct of textuality and the construction of literary authority. This volume explores the figure of the woman reader by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions imagined her. It argues that these figures are not mere veneers between a male author and a 'real' male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.
Offers an analysis of the presence and significance of female characters in Dante's 'Comedy'. Commencing with the tabulations of women listed in "Inferno IV" and "Purgatorio XXII", to which may be added the grouping in "Paradiso XXXII", this work traces the symmetry and symbolic import of these clusters.
Dante's Persons explores the concept of personhood as it appears in Dante's Commedia and seeks out the constituent ethical modes that the poem presents as necessary for attaining a fullness of persona. The study suggests that Dante presents a vision of 'transhuman' potentiality in which the human person is, after death, fully integrated into co-presence with other individuals in a network of relations based on mutual recognition and interpersonal attention. The Commedia, Heather Webb argues, aims to depict and to actively construct a transmortal community in which the plenitude of each individual's person is realized in and through recognition of the personhood of other individuals who constitute that community, whether living or dead. Webb focuses on the strategies the Commedia employs to call us to collaborate in the mutual construction of persons. As we engage with the dead that inhabit its pages, we continue to maintain the personhood of those dead. Webb investigates Dante's implicit and explicit appeals to his readers to act in relation to the characters in his otherworlds as if they were persons. Moving through the various encounters of Purgatorio and Paradiso, this study documents the ways in which characters are presented as persone in development or in a state of plenitude through attention to the 'corporeal' modes of smiles, gazes, gestures, and postures. Dante's journey provides a model for the formation and maintenance of a network of personal attachments, attachments that, as constitutive of persona, are not superseded even in the presence of the direct vision of God.