By Nick Havely(auth.)
A complete advisor to Dante’s existence and literature, with an emphasis on his Commedia. this article appears on the impacts that formed Dante’s writing, and the reception of his paintings by means of later readers, from the 14th century to the current.
- Introduces Dante via 4 major techniques: the context of his lifestyles and profession; his literary and cultural traditions; key topics, episodes and passages in his personal paintings, in particular the Commedia; and the reception and appropriation of his paintings by way of later readers, from the fourteenth century to the current
- Written via knowledgeable Dante pupil
- Provides new translations of considerable passages from Dante’s poems and from the area of his contemporaries
- Includes explanatory diagrams of Dante’s 'other-worlds', and a piece of illustrations by means of medieval and glossy artists
- Builds a bright and intricate photo of Dante's mind's eye, mind and literary presence
- Helpful bibliographies contain correct net resources
Chapter 1 Landmarks of a lifestyles (pages 1–56):
Chapter 2 Texts and Traditions (pages 57–125):
Chapter three studying Dante (pages 127–210):
Chapter four Postscript: Dante's Readers (pages 211–263):
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Extra info for Dante
Within this medieval model the sphere of the Moon was the nearest to the Earth, and beyond the concentric spheres of the planets and the ‘ﬁxed stars’ lay the Empyrean, the ‘highest Heaven’ (Conv. 2. 14–15; and diagram 3, below, p. 125). So why, for Dante, was grammar like the Moon? Because, he argues, of its density – the inﬁnitude of words especially – and the constant variation over time of words, forms and constructions (Conv. 2. 13. 10). The other, less poetic reason was that grammar (like the Moon as the next sphere to the Earth in the medieval cosmic system) was the initial stage in the student’s ascent through the universe of knowledge.
23). Dante may have been at Gargonza, and his presence is recorded in June 1302 at the large abbey church at of San Godenzo, at the foot of the Apennines, some 50 kilometres to the north-east of Florence, and still well within Tuscany (Piattoli 1950: 110). ‘Dante Allegherii’ is listed in the document, along with powerful members of the White families, as agreeing to recompense the Ubaldini family of the Mugello (traditionally hostile to the Commune) for any damage or losses incurred to them during the imminent military campaign against Florence (Compagni 1986: 56).
There were various models in the Middle Ages for describing the stages of life (three, four, seven, or twelve) from childhood to old age. In the 6 FROM THE BAPTISTERY TO THE PONTE VECCHIO fourth treatise of his philosophical commentary, Il convivio (‘The Banquet’, 1304–7), Dante explicitly follows the four-stage scheme propounded by the scholastic philosopher Albertus Magnus in the early thirteenth century. Here the period of adolescenzia (‘growing up’) is said to occupy the ﬁrst 25 years of life and is associated with the qualities of the sanguine ‘humour’ or temperament (especially heat and moisture) and with the season of spring (Conv.
Dante by Nick Havely(auth.)