scholarly journals A busca pela eternidade: aproximações entre Murilo mendes e Dante Alighieri.

2021 ◽  
Vol E4 (2021) ◽  
pp. 132-149
Author(s):  
João Victor Santos
Keyword(s):  
Comparative Literature ◽  
20Th Century ◽  
Dante Alighieri ◽  
Theoretical Framework ◽  
Divine Comedy ◽  
The Other ◽  
The Divine Comedy ◽  
The Relationship

With the intention of studying the relationship between Being and Eternity, the present study sought to bring together As metamorfoses, by Murilo Mendes, and The divine comedy, by Dante Alighieri. With the support of texts such as those by Carvalhal (1986) and Nitrini (2015), we used Comparative Literature as a theoretical framework in order to compare the lyric verses of one and the epics verses of the other, in order to analyze how it was the process of receiving the Italian work by the Brazilian. Based on Lucchesi (2013), for whom the dantesque comedy is seen in a diluted way in 20th century Brazilian poets, we undertook the appreciation of murilian verses and raised hypotheses about how they would associate with Italians through thematic and sonorous relationships imagery. With that, we were able to conclude that As metamorfoses absorbs traces of The divine comedy and is different from it, managing to maintain the balance between influence and originality.

scholarly journals Parodia e ironía como subversión de la tradición en el “Viaje a la oscura ciudad de Cacodelphia”

Acta Poética ◽  
2021 ◽  
Vol 42 (2) ◽  
pp. 147-167
Author(s):  
Eridania González Treviño ◽  
Keyword(s):  
20Th Century ◽  
Dante Alighieri ◽  
Narrative Structure ◽  
Divine Comedy ◽  
General Context ◽  
The Novel ◽  
Literary Canon ◽  
The Divine Comedy ◽  
Leopoldo Marechal

This research presents an analysis of the dialog between parody and irony, as a gender and a literary modality respectively, through its subversion function in the “Seventh book (Journey the dark city of Cacodelphia)” of the novel Adán Buenosayres by the argentinean writer Leopoldo Marechal. This study starts with an introductory approach to the general context of the novel, where narrative structure, the positioning of the modern man as the hero of the 20th century are discussed, along with the implicit parody in the “Journey to the dark city of Cacodelphia” and its predominant irony, both as subversive elements of transgression of the represented literary canon, in this case by the “Hell” of the Divine comedy by Dante Alighieri.

scholarly journals “Non vide mei di me chi vide il vero”: l’arte “verace” nel girone dei superbi come mise en abyme dell’arte dantesca nella Commedia

2021 ◽  
Vol 21 (1) ◽  
pp. 55-65
Author(s):  
Maria Maślanka-Soro
Keyword(s):  
Divine Comedy ◽  
The Other ◽  
Mise En Abyme ◽  
Other Hand ◽  
The Divine Comedy ◽  
The One ◽  
The Relationship ◽  
The Universe

“Non vide mei di me chi vide il vero”: L’art “verace” in the circle of proud as a mise en abyme of Dante’s art in the Comedy The purpose of this study is to discuss the problem of meta-poetic themes in the Divine Comedy, focusing in particular on the relationship between God’s art and Dante’s art in the context of the impression caused by the sight of the rock reliefs in the cornice of the proud in the Purgatorio, where the poet, presenting and imitating the art of God, in fact shows the mastery of his own art. The analysis leads to the conclusion that the examples of humility and pride carved on the walls and the rock path – the perfect work of God-the Artist, vibrant with life and called by Dante visibile parlare – are, on the one hand, a mise en abyme of its macroscopic version, which is the Universe created by him, and, on the other hand, a mise en abyme of the universe narrated with the simile perfection by Dante.

scholarly journals Thomas S. Eliot’s eyes on Dante Alighieri

2019 ◽  
Vol 7 (2) ◽  
pp. 49
Author(s):  
Sha Ha
Keyword(s):  
20Th Century ◽  
Dante Alighieri ◽  
Divine Comedy ◽  
Visual Images ◽  
Sensory Experiences ◽  
The Divine Comedy

Thomas E. Eliot devoted several essays to Dante Alighieri, declaring that he considered the Italian poet the most universal of all poets of the continent. Dante’s recourse to visual images to enunciate very abstract philosophical and theological themes, finds its counterpart in Eliot’s use of the ‘objective correlative’ to evoke in the reader sensory experiences. Purpose of the present paper is to investigate about the influence exerted by the author of the “Divine Comedy” on the great innovator of the English literary landscape of the 20th century, utilizing to that purpose the scripts by T.S. Eliot himself.

Medieval Interpretation of Phonation Through the Divine Comedy, by Dante Alighieri

2022 ◽  
pp. 019459982110730
Author(s):  
Martha Borraccini ◽  
Matteo Marinini ◽  
Michele Augusto Riva
Keyword(s):  
Middle Ages ◽  
Dante Alighieri ◽  
Medical Knowledge ◽  
Divine Comedy ◽  
Word Formation ◽  
Medieval Period ◽  
Vocal Cords ◽  
The Divine Comedy ◽  
And Function ◽  
Dual Functions

The anatomic and medical knowledge of people throughout history is unexpectedly evident in some of the poems and texts written by intellectuals of the time. This article attempts to understand the conception of laryngology in the Middle Ages by analyzing the Divine Comedy, written by the Italian poet Dante Alighieri (1265-1321) at the beginning of the 14th century. In the text, Dante mentions the throat several times. He recognizes that the larynx has the dual functions of allowing respiration (dead souls recognize that the poet is alive through movement of his throat when breathing) and speech (souls with their throat cut cannot speak). However, Dante does not seem to know of the existence of vocal cords, thinking that it is the tongue that allows for word formation. In general, Dante’s poem indicates that the anatomy and function of the throat were known during the medieval period, although this knowledge was not precise.

scholarly journals The Concept of Villain in Shakespeare’s Othello

2016 ◽  
Vol 6 (4) ◽  
pp. 75 ◽  
Author(s):  
Marwan Alqaryouti ◽  
Ala Sadeq
Keyword(s):  
Sigmund Freud ◽  
Divine Comedy ◽  
Point Of View ◽  
The Other ◽  
Human Beings ◽  
P 75 ◽  
The Divine Comedy ◽  
Psychological Point

The concept of evil has been researched since the Medieval era, leading to the conclusion that human beings have the freedom to choose good from bad, or evil from good. The origin of evil based on the religious teachings is Satan, who is described as the Rebel Angel, as explained by Dante in The Divine Comedy (Alighieri, 1957). Satan tempts human beings into sinning, as revenge against God for placing him in Hell. Based on the psychological point of view developed by Sigmund Freud, the source of evil is id which is distinctive (Freud, 1966). Villain motivations are driven by the tendency of the ego to make realistic decisions about meeting the unrealistic and unreasonable desires by the id. The other aspect that motivates villain actions include jealousy, anger and revenge, as indicated in the play. Shakespeare presents the villain character perfectly in his play Othello (1604) through Iago, whose main focus in life is to destroy others “So will I turn her virtue into pitch And out of her own goodness make the net That shall enmesh them all” (Shakespeare, 1993, p. 99). Through his manipulative skills, he makes the other characters trust him “Iago most honest” (Shakespeare, 1993, p. 75) and then fuel conflicts among them. Iago is motivated by anger, revenge and jealousy to commit the evil acts.

scholarly journals Siete voi qui, ser Brunetto?». I volti di Brunetto Latini: rappresentazione e autorappresentazione

2017 ◽  
Vol 23 ◽  
pp. 96-107
Author(s):  
Noemi Ótott
Keyword(s):  
Dante Alighieri ◽  
Divine Comedy ◽  
Point Of View ◽  
Republican Rome ◽  
The Divine Comedy ◽  
The Creation

As in portrait (attributed to Giotto) of Brunetto Latini and Dante Alighieri, history has tended to pair the two poets, who were both exiled from their native Florence. The role played by Brunetto Latini in Florence’s history paralleled that of the orator Cicero in Republican Rome and Dante, his student, was Florence’s Virgil. The famous “Brunetto’s Song” (Canto XV of Inferno) has generated many controversies, determined and justified by an uninterrupted and secular reflection. The encounter between the protagonist-traveler and his master has great importance also from the point of view of the creation of The Divine Comedy. But the old florentine intellectual does not only appear in this canto: in fact, he is the author and, at the same time, the protagonist of the famous opera Il Tesoretto, a didactic-allegorical poem written in volgare. In my study I focus on the figure of Brunetto Latini and on his representation by Dante. At first I examine the protagonist Latini: how he appears in the canto and what his part is in The Divine Comedy. Then I concentrate on the author Latini and I try to identify the poet’s voices in the texts and descriptions according to the context.

scholarly journals The Stranger as Friend: The Poetics of Friendship in Homer, Dante, and Boccaccio

2013 ◽  
Author(s):  
Franco Masciandaro
Keyword(s):  
Jacques Derrida ◽  
Emmanuel Levinas ◽  
Natural Extension ◽  
Divine Comedy ◽  
The Other ◽  
Maurice Blanchot ◽  
Philosophical Method ◽  
The Divine Comedy ◽  
The One ◽  
The Stranger

The principal aim of this study is to participate in the current renewed discourse on the meaning of friendship, initiated in 1994 by the French philosopher Jacques Derrida with his Politics of Friendship, by combining the philosophical method of inquiry with the hermeneutical approach to poetic representations of friendship in the Iliad, the Divine Comedy, and the Decameron. It examines friendship not only as the unique love between two persons based on familiarity and proximity, but as the love for the one who is far away, the stranger, for this is a natural extension of the implicit love of the distant other, of the other-as-stranger – what Emmanuel Levinas has called "the infinity of the Other" – which is concealed in our friend, and which, in the words of Maurice Blanchot, puts us "authentically in relation" with him or her.

The Sound of India In Maurice Delage’s Quatre Poèmes Hindous

2020 ◽  
Vol 65 (2) ◽  
pp. 277-296
Author(s):  
Noémi Karácsony
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
The Other ◽  
Western Music ◽  
Personal Contact ◽  
Early 20Th Century ◽  
French Music ◽  
Sound Effects ◽  
Instrumental Technique ◽  
The Relationship

"French composer and pianist Maurice Delage wrote several significant works inspired by his personal contact with the Orient. His travels to India inspired Delage to use innovative sound effects in his compositions, as well as to require his performers to adapt their vocal or instrumental technique to obtain the sound desired by the composer. His representation of the Orient is not a mere evocation of the Other, as is the case with most orientalist works, rather it reflects the composer’s desire to endow Western music with the purity, strength, and vivid colors which he discovered and admired in Indian music. The present paper presents the historical and artistic background which inspired and influenced Delage, the relationship between France and India in the early 20th century and reveals the composer’s idealistic point of view regarding India, its culture, and its music. The analysis focuses on the mélodie cycle Quatre poèmes hindous, composed between 1912 and 1913, striving to reveal the Indian influences in the work of Delage and the way orientalism is represented in French music from the first decades of the 20th century. Keywords: orientalism, France, India, 20th century, Maurice Delage"

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